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Alright, well, this post will be a bit different. I had this whole plan, and no.3 was in the works. Sort of a jaunty jumpy upbeat kind of thing. I've been conscious of the order I'm writing these in, as I've almost been treating this like a suite. But as with anything in life, it takes it's turns. And recent events have made me write this one instead. I've noted everyone's comments so far, and am very thankful for all the feedback. My main goal with all these pieces is to make it friendly to any intermediate player, myself included. It's been fun so far, and I think you'll find the playability in this one the easiest of the first three. But, unfortunately I'm ending this post on a sad note. When I went to work today (for those that don't know, part of my income is teaching guitar and piano. I have a piano in my office/room), I couldn't help but to start hitting the keys as emotions have been heavy with me. For a little bit, this piece came out, and when I was done at work, came home and notated it all out. Honestly nothing has felt easier to me than writing this one. What it make lack in technicality and possibly musicality, I think it makes up for in mood and the words I've been wanting to say. I hope you enjoy this one, even though it's on the darker side. I'll also take this opportunity to those that venture in my post, to say that I'll be leaving YC for a while. I don't feel right being here right now. This piece is written about and dedicated to someone here, who I viewed as a friend. But I'm heartbroken from recent discoveries and events. I feel rotten, and gross, and cheated, and lied to. Maybe I'm overreacting, as I've been told I do, but I just can't hold back. I can't and I'm not able to bury some things deep down; this is something that I take very seriously. And when trust and honesty is broken, I feel broken. I don't know, I'm just rambling now. But what I'm getting at is that I love this place, and hope you all keep composing. I'm very excited to hopefully find the courage to come back and cast my emotions aside to hear all the wonderful and great pieces so many members here are capable of. But I just can't do it now. Good luck with music to you all, see you after a while. EDIT: another fantastic @Henry Ng Tsz Kiu performance

Hi again, ladies and gentlemen. Since we've been doing some "under the hood" changes and small additions to the forum, I thought it would be nice to have a post to summarize the latest ones. I don't think we have removed anything, so let's just go to changes and additions: Changes: • 'Works with Few reviews' requisites have changed; now topics will be there up to 5 replies instead of 2. • Scrolling bars have been tweaked to fit better with the YC default theme. • Tweaked other small aspects of the YC default theme, expect more soon. • Chat announcements are now center-aligned by default. Additions: • Added several manually awardable badges. Some of them have been already given. Some of them not and they're waiting for you to get them! • Added several automatic badges: More are possibly on the way, though the system is limited. All suggestions are welcome! • Added a Twitter tab linking to @chopin's Twitter. (mostly, YC and Music Jotter news will be posted there). YC also has a new Discord, which many of you know of already! • Added a fully-functional night theme. You can switch themes at the bottom of the forums. Currently, only the default one and this "Nightvision" theme are fully made. I am kinda proud of the work done this last weekend so give it a try even if you don't like dark themes and tell me how it feels and anything that you might think that be misbehaving. That'd be all for now; we'll keep trying to improve and add stuff, again all suggestions are welcome. Thank you all for keeping this forum alive and bring your works, reviews, basically on investing your time here. YC is such a nice place and I'm sure it'll get better and more populated with time. Best regards, Daniel–Ømicrón, proud member of YC.

Hello everyone, Here I am back among you, dear composers, to present you my latest composition: It is a piece for orchestra and solo clarinet, whose argument is to stage the run of a prisoner, in a spirit that I wanted to pay tribute to American cinema of the 1960s, or at least an evocation (and an argument). I don't have the score clean, but you can see a little what my manuscript looks like, which serves as a visual as I got used to on my recent compositions intended for Youtube. I hope you like it, in any case, it amused me (and took time)... Friendly yours K.

Hey there, As I violinist and as a composer, I really love this little baroque-esque violin sonata movement that you've got here. Nice use of counterpoint and terrace dynamics throughout. One thing that did throw me off was those octave jumps in bars twelve through fifteen, which sounded quite out of place with the rest of the piece, in my opinion anyways. I would recommend that you listen to some of the great baroque violinist composers while composing the rest of your sonata. Some good ones are Vivaldi and Corelli (both of whom you've most likely heard of) and Jean Marie-Leclair (can never spell his name correctly) and Jean Baptiste Lully (who I also hope you've heard of). Anyhow good job with this piece, Arriverderci Arjuna

This is not a dance suite, but is made out of old pieces in my dance suite folder that didn't make the cut (back when I was writing into the sequencer). The 1st movement - Serenade - is a fast ternary form in Ab major. Originally it was meant to be a prelude to a dance suite. It is in 4/4. The 2nd movement - Lament - was originally meant to be a Courante, but it doesn't satisfy the requirements of the kind of dance that a Courante is meant to be (and it's in 2/4). This piece is in Ab minor and binary form. The 3rd movement - Intermezzo - was also conceived as a prelude to a dance suite. It is in F# major. It is in 4/4 and binary form. The 4th movement - Postlude - was originally meant to be an Allemande but ended up being too slow to be any kind of dance, even though it has some characteristics of an Allemande. It is in 4/4 and E major. The overall form is fast, slower, slower, and even slower. Let me know what you think! I appreciate any of your constructive comments, suggestions or critiques!

The idea is there, but it's still a work in progress. Now I can finally start focusing on the 4th mvt! I had the idea of making it scherzo-like, but I couldn't get away from the 6/8 feel. Still ABA form like a normal scherzo would be. Oh yea, I know the ending is reminiscent to Pines of Rome. That's why I put ricorda i pini next to the Adagio marking! It means "remember the pines." AUDIO : https://drive.google.com/file/d/1v9ARsboO2ZNuaOaPyeXtRcKTFE21G9wf/view?usp=sharing

This is a short Main Theme for a movie concept that never happened. Music & Production by Syrel Photography by Syrel

Hi, this is part of my series about orchestration of piano pieces by composers born in what is Ukraine today. Glière, who modified his name to the French taste, was born in Kiev. Oh, if my sadness is a short piano piece. The language is absolutely romantic. Here is my recreation:

Hi again! • The beginning was 👌, but it suggested a mood and atmosphere that gets destroyed (of course, I assume intentionally) in the next minutes. Looking at the video it all makes sense, as it's supposed to be related to each part or episode. • The sound, as it's common of your productions, is very nicely crafted and one can very well notice that despite the loss on dynamics you mention. I don't understand it either, I only know that sometimes YouTube compresses videos a lot. My uploaded nocturnes weigh notably less than originally when I re-download them from the platform. Whatever magic they do, it may affect the sound somehow (?). I'm no expert, sorry. • The way you make instruments appear and disappear is feels very natural, the music never ceases to flow, the multiple contrasts you do using different amounts of instruments, variations on intensity (done gradually or abruptly), harmonic progressions (jazzy vs. axis-ish perhaps)... Not a single one sounded off to me. Very solid job. • As difficult as it can be in my opinion, the SOLO parts are very insightful and their intrinsic calm not only give the listener a break but allow you to build up again tense moments very successfully. • The ending was solid too, not the best in terms of conclusive power —And you probably were not looking for that— but definitely fitting. • On a side, kinda irrelevant note, since you put the text of the post in black and didn't use "automatic", it's very difficult to see it in the night theme so I had to switch. In summary, I believe you are a very talented composer and your works speak of you. You are definitely able to create very good atmospheres that I personally enjoy listening to. For that reason, I am promoting your post today, as I'm sure other people will enjoy listening to it, plus they may have useful feedback and not only compliments :). Kind regards, Daniel–Ømicrón.

Thanks @Omicronrg9 for the updates, and especially for your work on the night theme. The night theme is such a great addition to the forum, and I encourage people to use it and let us know how it can be improved. We will take notes and apply those notes to the default theme as well.

thanks for feedback I am making changes and will share updates soon

Hi this score is a bit short for now but I plan on making a second and third movement. https://musescore.com/user/29293489/scores/10069465

Oh so b.43 and b.57 are the beginnings of 2nd and 3rd movements actually. Then you should probably extend all of them! The 2nd movement just contains 15 bars which is too short! You can use a binary form for that! Now it's only the A section here. The 1st movement only contains the exposition here and you can add the development and recapitulation! The beginning of 3rd movement for me is a good theme for a finale but you can use it as a rondo theme, e.g. a recurring theme later reappears after different episodes. If you are interested in it, I find "Form and Design" in the series of "Cambridge Assignments in Music" a succinct guide to that! https://www.amazon.com/Form-Design-Cambridge-Assignments-Music/dp/0521298121 Henry

Not a fan of form but ill study that more later. And the change of tempo happened at the start of the 2nd and 3rd movements only. Thanks for replying!!

Hi @hw1234, I love how you try to extend the music! The first 10 bars is gramatically fluent with I-IV-V-I. To name this a Sonata you can try to use Sonata form. The first section should end in the established dominant D major rather than going back to tonic G major. Also you can recapitulate the opening material later. Here especially with the change of tempo is more like a compilation of different musical excerpts. Henry

Hi @Zimr Music, I think the music is quite good depicting a meaningless wandering! I like the section in 1:30 as it becomes more complicated and harmomically interesting. Thanks for sharing! Henry

Personally, although the accompaniment sounds fine as is, it could use some more changes in the rhythm and I would also agree about dynamics. The background kinda becomes just a little too background IMO An orchestrated version would also be cool, but I say that about most things

On a more serious note, it was a very pleasant prelude to listen, dreamlike or nocturne-like as Henry said but less catchy than the first one, which isn't necessarily bad at all and in this case it just means that it is —most likely— less motivic-dependant. Only thing I missed: a bit more of dynamics here and there. At least judging by the score I would agree with Peter and state that it indeed seems more difficult. BEWARE, for I began the same way "I want to make them easy" with my nocturnes and it surely didn't last long, lol. I also did plan to do like 10 or something at the beginning, BEWARE of that too. Already looking forward to check the third one!! Kind regards, Daniel–Ømicrón.

Haha he remarked in his review of my Clarinet Quintet that he wanted me to be more "me", but this is an old work so I can't change my past Beethovanian self!!😅 I just use my phone to record. I will consider using some better devices later on for better recordings when needed. Thanks for your advice! This is for sure noy an easy piece but I don't play very well here, and I remember @Sean Brown play extremely virtuosically in his Romance in D! Yes especially those low registeral passage, though the blurring sound may contribute some confusion for the music which is not bad for me! I don't know why I compose this intense. Usually I compose overly long music in an hour and this one is in a minute and a half. I am happy I can achieve this kinds of effect using this little time span! Or maybe the diminutive time contributes to the intense listening, I don't know! Thank you! Please stay tuned and I will try my best practicing the movemebts which are quite diffucult in their own ways as well! Haha thank you. I hope so but I don't urge it, since usually it's more frequent to post own compositions than giving reviews here and I think that's perfectly normal. That's why I really treasure every reviews here! I will never forget your legendary post on my Quintet! I myself do enjoy reviewing other people's work though! Thank you for your kind words and review, Daniel! Henry

Good evening everyone! I'm excited to present a new piece I have been working on for the last month or so: Scherzo for Orchestra. I deliberately wrote this fairly quickly, with the intent to write something fun, conventional, and maybe even a little whimsical. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to critique my success or failure on these: Write something a little more informal and accessible, with catchy, memorable themes. Start with a very simple idea, and build the entire piece off of it. The four bar opening phrase in the 2nd violins popped into my head one day, so I tried to build the entire piece off of this motive and transformations of this motive. Practice having multiple contrapuntal lines. Some details on this are below. Write something that would work as a middle movement of a larger work, such as a symphony. Write something under 10 minutes, since I might decide to enter it into a competition and a lot of competitions have a 10 minute time limit. The piece is loosely structured in a three-part rondo form (ABACABA). (0:00 - 1:32) - A Theme - A very quick staccato theme in C# minor. I based this on the idea of a fugue, with each voice entering at different scale degrees, before they all come together to cadence. I'm sure I broke a few rules on the counterpoint, but it got the job done. The section ends on the V (G# minor) (1:32 - 2:21) - B Theme - A soaring theme in E major, then restated in Db major. Here I tried to have descending chromatic lines to complement the ascending melody. (2:21 - 3:04) - A Theme - Restatement of the second half of the A Theme, this time ending on I (C# minor) (3:04 - 6:31) - C Theme - A waltz in D major that begins very timid, gradually gains confidence, and goes out with a bang. (6:31 - 8:01) - A Theme - Restatement of the A Theme, this time in D minor, with the orchestration modified slightly. I threw in a couple unprepared modulations up a half step, to Eb minor and E minor. As a result I may have broken a "rule" here since I ended the section on B minor (which is not the V of D minor, the key I eventually return to). (8:01 - 8:49) - B Theme - Restatement of the B Theme, this time in Db major and Bb major. (8:49 - 9:37) - A Theme - The second half of the A Theme again, eventually returning to D minor to end the piece. As usual, I have an onslaught of questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do any of the parts seem impractical to you? It's a pretty fast piece with a lot of technique, so I'm curious if some of the parts are impractical. I don't mind them being difficult, I would only be concerned if they are borderline impossible. Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL Trumpet (only for some of the lyrical trumpet melodies) VSL Violins (only to layer with the violins in Spitfire) Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm

Judge Dredd here. (which I had to abandon as a member-ID in case others thought I had a musical Lawgiver behind my back - well, there is one, usually pointed at my back!). But I do have a problem: I believe that each composer's efforts are a step on the road to ultimate success no matter how that's defined. Who am I to criticise? It's dead easy to criticise the work of others. Easy to praise, Easy to be harsh - but to be just? Impartial? That can be difficult, partly depending on awareness of the experience and level of the one judged. What's important is to help creators to become self-critical; persuade them to stand back and ask 'is this what I really wanted?' But also to encourage. It's fine for someone to turn up posting a tune to ask 'has this potential?' But often, works are posted prematurely: 'I just wrote this, this afternoon. What do you think?' without giving their embryo time to gestate a bit, so to speak. I'll continue to review works if I have time, tending to be selective in ways but always with an attempt at equanimity. If it's based on the scale of 12 notes, some kind of score draws me in rather than absence of same. But it's best if I don't apply for a formal reviewer post just now. I hope that's ok? I'm just a street judge and I'm very late for work! Q