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I wrote these pieces a few years ago while going through a bit of a Reich/Adams minimalist phase. My goal was to create repetitions that would still have a melodic element to it.

Wow if your are in the beginner's level and write this kind of orchestral piece that will be amazing! Maybe writing solo piano pieces or chamber music first will be easier for you to practice with the harmony writing! That said it's certainly a good beginning with pieces in this kind of level! There are many great Symphonist here though, e.g. @gmm, @WowBroThatWasReallyEdgy, @Quinn have all posted great pieces within these two months! You cam check their pieces out if you are interested to their mature orchestral writing. Henry

my man 😄 Hey thanks for checking it out as always Henry. It's been fun writing these preludes, and this is one of my favorites so far. I'll share the others I have written in time, but I'd like to take this opportunity to tell you how awesome it's been hearing you practicing these ones. How cool is it that this site has allowed me to get to know someone as awesome as you, willing to take the time and work on the music I write, and you're on the other side of the world from me! I know you keep refusing my payments haha, but seriously, in time let me make it up to you in that way or someway else just as sufficient. I'll keep in touch, but in the meantime, I just wanted to share those words with anyone else that may be reading this, as the rest of this community deserves to know how wonderful you've been to me and how great of a friend you've become. Count me in as someone who will always support your music and share insight into your continued evolution as a composer and musician. Again, I'm very grateful to hear your words about my music, and even more so the recordings you've sent me.

Hi Peter. I'm sure I still have to review another piece of yours but this one just happened to show earlier in my feed. It's very "anime-like" indeed, Musesounds didn't perform as good as I expected them to do; at least in my end, the sound is perhaps too wet and dense in the background strings, but all in all this is just secondary to me (not sure if the people for which you made this demanded you high production value or not). In any case, perhaps a bit of equalizing could add more "sharpness" to the result. The score has little dynamics and phrasing indications, though I didn't feel this piece needed any of that in particular so we're good. The final is 👌, you nailed it in my opinion. Kind regards, Daniel–Ømicrón.

I must agree with everything Henry said here. While some passages are alright, some others are too "messed up" due to the little distance between voices we have here and the equality on timbre. Henry's suggestion and/or adding different mute indications for each voice. As a suggestion outside of the musical aspect, I would paste the Youtube link directly here instead of what you did so users can directly listen to your piece without opening another tab. Welcome to the forum BTW! Kind regards, Daniel–Ømicrón.

Haha I enjoy playing your pieces very much and they are lovely! The recording still has some slips but I am happy you enjoy it! Henry

Hi @Nazariy, I love how you use the head and tail of the subject for the episodes and fill ups which is great craft! I love how you use countersubjects here since I always find it easier to write with countersubjects anyways as I can just copy and paste if there aren't the errors by invertible counterpoints haha! B.15 beat 3 to 4 btw Tpt.1 & 3 and b.17 btw. tpt. 2 and 4 beat 3 to 4 is very close to a parallel octave. Nice stretto in b. 34. The stretto in b.49 doesn't seem very satisfying for me as there is a parallel fourth there in b.50. I hope in the episodes there are more different patterns. In many passages you have two voices double each other in thirds or sixths as it is in the tail of subject and countersubject but I think you can add more variety to that! In b.46 the faxbourdon is a bit strange with A natural in tpt.2 right after the establishment of C minor with an Ab and I think you can add more passages for the modulation instead of having the A natural comes back in a rush. However I do like the ending! I think one of the shortcoming of the piece is the choice of using the 4 trumpets. The difference of the register between the instruments is not apparent and you use dynamics to signify the entrance of the subject which is good, but sometimes the counterpoint mix up due to their close range and same timbre. The parts keep crossing each other especially that of the tail of the subject and countersubject which may sometimes cause confusion for the independence of voices. Maybe having a brass quartet will be better for the variety of timbre and independence of voice? Though some of them are not necessarily able to play the quick tempo and the timbre needed. Thanks for sharing! Henry

I love your harmony in this piece! Your main thematic material is alternating on that 5th interval back and forth while you have the bass come in a 5th below that which creates just the most wonderful sonority and definitely among my favorite ways to make an interesting harmony that isn't just stereo-typically tonic-like. Is that harp and celesta? I love your usage of these instruments with the flute scalar runs! I have a topic I started that talks about this kind of harmony - Ever build harmony by stacking down? I think the piece also does a great job of describing a person who's on the brink of sleep, maybe struggling to fall or stay asleep. I can definitely hear that in there. Thanks for sharing!

Hello @Pano, With the A# the music is modulating to B major, the dominant of the tonic key of the tonic E major. This is very common in Baroque ritornello form to modulate to the tonic key's related keys like Dominant, relative minor, Subdominant in the tutti sections before the solo instrument comes in, in this case b.48 when the solo instrument brings the music from the established B major to the relative minor C sharp minor in b.60. Welcome to the forum! Please feel free to read and review other members' posts here! I will also move this topic to the forum of "Advice and Technique" since the forum of Orchestral and Large Ensemble is for members to post their orchestral works! Please don't mind this! Henry

1:05 of swarm had me like

Hi Syth. The panning at the beginning (of this new theme) didn't convince me at the beginning but since you rapidly introduce another and 'fill' what was in my humble opinion asking to be filled, it's nice. The drums are 👌. I have some friends that are into black metal much more than me so I'll share it with them, this sounds VERY cool to me and probably much more to theme. I kinda missed some contrast though, but the stuff going on fits the title that's for sure (at least for me). Kind regards, Daniel–Ømicrón.

Hi Vince, Music-wise it is very touching and grievous. I deeply enjoy the sadness in it and appreciate your output. What is musciality actually? For me is to able to express something you feel and think musically conVINCEingly. This is very successful in depicting the sadness you have. It's of course sad to hace sadness in life but to express the sadness through music is great aesthetically and therapeutically. This piece is definitely a bitter one with that predominant blue notes and minor-major seventh and major seventh chords. Simple, yes, but there are many stories under that simplicity. It's very difficult to bestow meaning and stories to those seemingly simple chords and melodies but you succeed in achieving all these. Technically it's not easy at all if you have to play the music with this kind of heavy emotions. I am sad and glad at the same time you make this. I am sure I will play this and record this since I utterly enjoy the sadness in it (ofc I am not being masochistic). This is the best creative condition we can have: There's a must we ought to finish our works. I hope by writing this you will feel better, and beware of hyper-creation since I had a similar experience: I finished the Wind Quintet piece in 9 days in a period of hyper fascination but I had become ill for nearly a month after that. I don't know what happen between you and your friend, but I want to say that we all have to take good care of ourselves in order to enjoy and review works from others. Of course I would love you to come back asap since I am very happy and grateful to have known you and received your warm compliments and encouragements, but I also know that it is a good choice to leave for a while to take care of yourself to preserve your love for YC and music. I know you are very busy recently and need time to recover from that, and I hope you can recover soon. I also hope that next time you will come back with the prelude set finished and share them to us again if you are couragious enough to come back. Henry