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Hello. Here is a short action piece I composed. It would mean a lot if I could get feedback on it. If I could get feedback on how well the orchestration is balanced or how well the piece develops but anything you notice will be helpful. Thank you very much.

Hello there, I think what you've got here is very lovely, a few criticisms: The first violin melody from bar seven sounds 'weak' to me. I feel like you should bring it out more by dobling it an octave down in the seconds and also doubling it in the celli. This is a very common way of strengthening a melody with strings in Classical/romantic music and I strongly recomend that you try it. As Henry has said above, the solo clarinet should be on a seperate stave of its own as per convention. This stave should go above the strings and below the woodwinds. Keep writing, and I hope my criticisms are of some help. Arriverderci, Arjuna

Thank you for your comments!! @Omicronrg9 @Henry Ng Tsz Kiu I've corrected the passages in the A minor fugue, that were just some mistakes that i overlooked. About the ending of the first fugue, it actually was my intention to make the ending lighter and reduce the speed and density of the music. Maybe it is not as natural as I would like it to be but that is the way I tried to do it. About the second fugue, it actually was less enjoyable to compose because it felt more "like an exercise" than the first but I wanted to force myself to complete this one too, and I am satisfied with the result.

i always feel a bit foolish in making suggestions about pieces as beautifully constructed as this but...while i love the contrasts between the sections here i find myself wanting them to be more pronounced. they seem a bit too subtle to my taste. increasing their length by allowing them each to become even more of what i would call a mini-drama in and of themselves could be effective. the first section is only 56 seconds and the transition to the next sounds abrupt. the transition at 2:35 works well i think. the coda-like part at 2:38 is nice but more of a recapitulation/encapsulation of what has come before might also round things off nicely.

Alright, pretty nice so far. The theme is very simple, which is good for a theme and variations because it allows for a very thorough exploration in the variations. However, I almost think it may be a little too simple. The accompaniment is the weakest part of the theme in my opinion and I think is what causes the theme to be ineffective. I understand you want it to be very simplistic since it's just the theme and you'll do more interesting accompaniment in the variations, but just simple chords every measure inhibits any motion or direction, which is important. A rule of thumb that I made for my own use is "don't decide where you want motion, make everything move and decide where you want stillness." Something as simple as an 'oom-pa-pa' or an arpeggio could do the job well enough. Now regarding the first variation, I don't think it really counts as a variation. I mean, all you really did was change the accompaniment for the first half. (You also changed the time-signature, but it made little to no difference in pulse to me). When writing theme and variations, you need to know how to vary a theme, which I think this piece is a perfect opportunity for you to learn. Here are a few things you could do to vary the theme: change time signature (e.g., from 3/4 to 4/4). add more notes to the theme (the best example of what I'm talking about is Beethoven 5 mov 2. Look at the first and second variations of the first theme, they're just adding more notes, but it works so well). change the mode from major to minor, or some other mode. invert or put it upside down. change chord progression. These are the most common ways I can think of. I'll also suggest you transition between some of the variations and modulate a bit, that is, if you want this to be more than, say, 5 mins. (edit) One more thing, the chord on b.13-14 doesn't feel right to me. I think you should change the E to an F. Also, thank you so much for following me! I'm excited to watch you grow as a composer, and hopefully then you'll have great advice for me! 🙂

It definitely reminds me of a classic Hollywood film score. Good energy throughout and good color in the orchestration. A couple of notes with the orchestration. I agree with Henry about the glockenspiel in m.23. The speed and placement of those notes would be very difficult to play. Either a celesta or piano would be more practical. Also, starting in m.26 through m.36 you give no rests for the piccolo, flutes and oboes. That’s a lot of notes to play without being able to catch a breath. Wind players can use circular breathing, but the amount of individual notes played within that time might be a little hard. It’s very easy to forget that people need to breathe. I do it myself when orchestrating, and have to make a mental note to put in rests

I've listened to symphonies played by an organ which has many different types for different orchestral colour so it's perfectly fine to be called a Symphony, but for a piano piece I don't think so. There are many chords, scales, broken chords and arpeggios but I am afraid not many passages are memorable. pikashow apk ppsspp gold apk

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This is a piece I wrote a few years ago, to be part of a larger work, but I didn’t write the rest of it. The title translates to “prelude to sleep”. I wanted to capture those moments before you fall to sleep. So it’s a pretty minimal piece for strings, flute, oboe, clarinet, bassoon, harp and celesta.