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Well probably I use its archaic usage of lament as I read too many Shakespere lol.

I am already! Giving the phrase entirely to the viola at the beginning of the B section makes it much easier on the listener (I think), and letting the phrase flow by adding movement in the last beat (I mainly did it with the cello) also works very well. Also, because I feel it helps cohesiveness, I changed the viola triplets at the beginning of B to pizzicato. I think what I still need to do before showing the result is a (brief) transition from A to B, and fix the inganno cadence in the middle of B which sounds very weak right now. I wish I had a bag of tricks! But I really have a lot of fun composing, so I'm toying with the idea of getting lessons, so I can build my bag of tricks 🙂 OMG this really made my day! Thank you, Daniel!

My ballade dedicated to my sister and brother in law's marriage. and Syncopation in C minor (violin, piano, 2 cellos) Quaret in F# minor called Yebae (Worship). Thamks for lsitening guys. If you want to keep in touch/contact me, it's soloyhk on instagram.

Yooooooooooo what's up my dude Glad to see you're back with some more music! Wait a minute...before I even listen...I'm reading the chatbox... Are you sure you're so fragile that you can't comprehend what a teenager has to offer? Do you know everything? Are you Beethoven? Dude, I'm probably older than you. I'm in my thirties. So what if someone younger than you has critical advice to offer. They could of said nothing, but instead they chose to say something about your music. Do you have to adhere to every word? Of course not, but don't neglect the fact that anyone who is interested in music that CARES ENOUGH to give you some words has something to say. Dude, I teach music for a living. I play stuff I've wrote to students of all ages... my ego is never hurt by honest opinions. Be man enough to recognize constructive criticism... no one is perfect. I've been doing this stuff for years, and I STILL post to this forum because I love hearing the feedback. I don't care if you're 10 or 70 years old, I'm here for advice to grow as a composer. Do I listen to all of it? Of course not, but I'm so happy that anyone who takes the time to not only listen, but to offer some words of advice/criticism/critique/slander are available to me from anywhere and everywhere in the world. That's part of the beauty of this place, and why I've been here for so many years. But if you're just going to get overly defensive on any critical comment you may receive, then it's your loss. You mentioned you're getting recorded my some hot shot producer (I actually don't remember exactly where I heard this, remind me). That's great. If you're that good, you have so much to offer here, instead of infecting the forums with toxic garbage reminiscent of a twelve year old. I hope that you'll come around, I have faith in anyone that calls themselves a composer, but the way you're handling yourself is immature and bullshit. Poke around on the forums more. You'll find that people don't often post multiple pieces in one post. What's your goal? If feedback is a priority, then make multiple posts in the future. Just ask Syrel, he loves popping up every once in a blue moon to post 17 songs/pieces he's written. So... after all that, I did listen to one of the pieces you posted. The Ballade in D minor. As Expert expertly commented, this didn't conVINCE me at all. There were some notable discrepancies. - For one, don't listen to the people that commented on Youtube. If you're REALLY interested in getting better, I have a lot to say - If you're going to notate both hands on one clef, it's best to arrange the note lines to align with which hand is playing. You seem like a guy that would offer money to people interested in playing the piece, so I'd write the best you can as far as playability - just write the tied eighths as a quarter, we know where the beat is - random double bar lines just for a change in material? Nah bruh, wait for some drastic change - there are countless times I could mention playability. Yes, this looks like it COULD be playable...but how would it sound? It seems impractibly difficult regardless. - come on dude... I watched you play Rach... does he do this? - this all seems kind of jumbled... what are you going for here? - again, maybe you could help me understand. It just seems all cacophonic, like there's no logic to it I could sit here and link a bunch more examples, but I'm just not understanding what you're going for here. Every aspect of music seems neglected, and I don't mean to be rude, but perhaps I'm just not skilled enough to understand fully what you're going for. I hear no sense of harmonic progression, the melody seems all over the place, and the rhythms are jaunty and dysfunctional. Like I said, I don't mean to be obtuse and abrasive, but what you've displayed here is inadequate as far as a composition goes. But just know, we're all here to help you. And when you stop being destructive in your feedback of criticism, all of us here would love to help decipher what it is you call music. Until then, I'm eager to hear your criticism of my criticism, and would love a conversation and not teen angst. I applaud @expert21for giving you honest feedback; his advice will only make you better as a composer. You must love to hear that. Vince

Oh I see, well it's the score what matters, but if you want, send me the musicXML (I suppose Finale can export to this) and I will try to somehow export it with a more clear sound in musescore or some other software. In any case, looking forward to check your next works man!

I won't repeat Henry's advice though I would encourage you to consider it seriously. • The pizz. sections were my favourite, but I would say this movement was a level or two above the first one you presented as a whole. • I would discourage you into forcing "interesting harmonic things" because yes. At the end of the day, it's your work and you decide, but in my opinion, this movement doesn't seem to be demanding it and you still have more movements to show stuff you surely have in your bag of tricks. • If you finally decide to extend this movement in order to allow such stuff to happen, make sure you do it in a way it not mess up what you have already done and thus the new material not feel like an isolated part in the middle of a movement that in principle may have nothing to do with the twists you introduced. That said, this movement is truly beautiful. Congrats, Giacomo. Kind regards, Daniel–Ømicrón.

Hi, Giacomo. I would agree with this generally; the more the piece advances, at least up to the re-exposition and specially in the section starting at 50, the further it goes from the usual harmony shown in the prior passages. What does seem to be a constant here is the question-answer passages that stain the majority of the piece for its own good in the majority of cases, but I don't think this kind of feedback is what you're looking for so I'm going to try diving a bit deeper. • After a 3rd listening (of the most up to date version of your piece you brought to us), I noticed that the "crescendo" you do from M68 to the beginning of M72 felt unsolved in the lower voices (image of how I view it below the whole text), so I thought that extending the off-beat to that measure and resolving it at the same beat the decrescendo from fortississimo to forte begins in the first violin might be a good approach towards making clear that this section featuring strong "fake resolutions" —one at M67, off-beat; another one at M69, off-beat too— is over and the more fluid passages that come afterwards take control of the piece for a while. • As a recommendation that I applied to myself regarding engraving, and which was recommended by some teachers of mine, try to compress silences where they not be meaningful or useful for reading. For example, look at Vc. part in M78,79 and 80. There are many more like these throughout the piece, which suggest me loads of try & error made —and thus, that this piece might be everything but effortless, which I highly value— cause these uncompressed silences are often left by the notation software after modifying/erasing/adding stuff. In order to not make this denser, I'll stop here and give some more superficial opinions. • My favourite parts were the exposition (the whole, up to M50) and the passage that goes from M86 to M92. The ending section was also good but not as good as the beginning and the aforementioned section. • The 4-5 bars preceding M86 didn't convince me too much, but I'm not sure why. Perhaps because you reached fortissimo too soon: already in M80 we have forte but the music seems to be building up tension from that point till M82, hence I would say the dynamics don't exactly match with the intention... Perhaps I would have begun a bit less loud so the point of maximum tension is successfully reached and better noticed when the last legato [M83B3 to M85B4] and only it hold the maximum loudness in comparison with the preceding two. But perhaps not, again I'm not sure :B. All in all, a very enjoyable work (for me, specially in the parts I mentioned). Kind regards, Daniel–Ømicrón.

Hi @Giacomo925, I love how you feature the cello in the opening section! Cello is utterly beautiful especially in its high register and I think you successful use that! Great job! For me, first you have to add a transition between the two sections, even if the transition is brief. This helps change the mood and tonality of the piece! For me I think you can start with the melody played by viola (yes that poor viola!) to have it feature the middle register. I won't invite the voice change right at the beginning of the contrasting section when audiences are not familiar with the contrasting material itself. The dialogue is rigid probably because the phrase always stop with a crotchet stop. Having at least one instrument moving each time (probably with triplets by other voices) will for sure help the flow there! Also make sure to delete the redundant "arco"s! The ending is great with those voice exchanges and crescendo! Thanks for sharing and hope to see your update! Henry

Hi @Giacomo925, First I like how you add the dynamic markings and the details! Obviously I like how you add the materials from the main theme into the development earlier, alongside with the new theme! Maybe it can be longer but that's personal since I LOVE extending haha! Thanks for your update and I am checking your second movement! Henry

Entry E - "Fantasy on a Theme from Castlevania 2" by @bkho "Castlevania 2 was one of my favorite games from the Nintendo era and in particular, I always found the town theme featured here particularly catchy with the interesting rhythms within a simple looping harmonic progression. Scored for string orchestra, my piece opens with a slow introduction, starting with a reharmonization of the opening motive followed by an almost canonic treatment of the descending chromatic motive before moving on to a straightforward presentation of the entire theme. This is then followed by a treatment of the thematic material in the relative major key before recapitulating back to the original theme and ending on a quiet pizzicato."

real life is where and only where it has been performed. any deficiencies in PF1 can possibly be attributed to the extemporaneous nature of its creation. it was easy to play that once and only time but a reproduction may indeed be complicated.