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Hi @GospelPiano12, I am not going to repeat what Peter and Arjuna said as they are very useful advice. If it's 9/8 at the opening the tempo marking should use a dotted crotchet instead of a crotchet for measurement. I don't think you have to change the key signature since Db major returns shortly. Other markings like dynmaic and tempo marking can be added too, but I think you will add them anyway so no problems here. Well Arjuna you will hate my finished Sextet as it's in Gb major with 6 flats..... Thanks for sharing! Henry

G'day, Nice work so far, a few points: As Peter has already pointed out, the lowest note a violin can play is G3 (the g directly below middle C). I think you should change the key from Dflat major to D major or another string friendly key. As a string player who hates Sight Reading (there are loads of us) five flats is a nightmare to look at. Also, D major is a lot more resonant on string instruments. Some slurring directions (e.g. Violin I, Bar Five) are unplayable. In string music, slurs represent bowing. I wish good luck to any string player trying to play that passage in one bow. Other than the above criticism, this work is going well. Hope to see the finished product. Nga Mihi Arjuna

The main rhythm that starts this piece off was an old guitar riff I've had from years ago. I always wanted to make it a song, but just never did. So I decided maybe as a piano piece it would be cool. The b.29 rhythm came from it as well. Let me know what you think, I'm always eager for feedback and criticism 😄 EDIT: 🔥🔥🔥🔥🔥🔥🔥 HENRY 🔥🔥🔥🔥🔥🔥🔥

I'm attempting to write a string quartet piece, but I've hit a wall. I've written two sections that I like individually, but I'm having some trouble connecting them. - Not sure how to write for viola (learning how to read alto clef as I'm working on this piece) - I tried to harmonize the parts with just the two violins kind of contrapuntally instead of thinking about chords, but at cadence points, I used suspensions and thought about those sections more chordal if that makes sense I'd love to hear any feedback on what I have so far and any suggestions for other sections/connecting what I have. Thx in advance

It finally happened, yall! Huge deal for me and a really really important passion piece about my thankfulness for being able to study music in college. There are a lot of things I want to improve moving forward, but I hope everyone enjoys. Lots of passion between every collaborator in this premiere. I hope to hear it played again / have this lead to some things, but this was pretty special for me. Let me know your thoughts! Perusal Score: https://www.dropbox.com/s/c90o8gsfxu7xgsg/Desert Tales - Full Score.pdf?dl=0 Recording:

Here's a short waltz that I'd like to share with everyone. The original score was created last 2014 as a soundtrack for a video project in college. It was originally for a couple string instruments. In 2019, I transcribed it for solo piano. In the process of transcribing, I accidentally swapped the treble clef of the right hand with the bass clef without changing the note order, thus changing the entire tone of the main melody. It sounded off at first but then I thought, it's not bad at all! So I took that "accident" and incorporated it into the final version of this piece (you'll notice that measures 41 to 56 is like a copy of the main melody but different). Then a few days ago, I finally decided to complete this version. I had fun revising this one, and I hope you enjoy it as well 😁 Waltz in C Major.mp3 Waltz in C major.pdf

Hi @Henry Ng Tsz Kiu and thanks for this new review. In b.29 the aim is indeed that the sound be quite dry. In b.41 is the tone clash of F# and F isn't intentional, I fixed it. In b.53 I like your idea of "having the G major tragically conquered", I'll think about such features in the future. About the ending clarinet, the way it sounds in the audio rendering is fine for me... 3rd and last movement upcoming in a few days/weeks. Thanks again 😉 Marc

Hi @Marc Deflin, For the overall structure I like how you retain the G minor in the introduction to cohere between movements. You even use material from the 1st mov. when G minor is back in the latter half. I will go straight to places I feel like less reasonable: In b.29 I may add a tremolo for the timpani semibreve note as it's quite dry for me here. In b.41 is the tone clash of F# and F natural intentional? I think the clash is too intentional and not quite effective since they exist with not enough reason, and it's not uses again later. In b.53 even I like your idea of using motto theme, I feel like the G major disappeears with no reason and G minor appears with no motion. I think at least having the G major tragically conquered will be better than hi-and-bye appearence. Also the G minor material just appears without any new meaning added for me. I think recurrence of theme is great given that new combination and context has provided a different perspective of the same materials, but not just appearing with no new things added. The same as the recapitulation of a sonata form. B.61 for me is quite bare btw flute and horn in a fourth apart without a 3rd voice. You can try to have a faxbourdon texture there to have an interlocking first inversion chord. B.83 has a nepolitan six-four chord instead of a sixth chord. It's OK for me though not usual I guess. I like the ending having some motions. But the ending clarinet in its high range will be very squeaky but you are having a p there. Do you really want that timbre? Also for me it's fine to end on a dominant chord at the end, bit you may have to add an "attaca" marking to.make sure next movement will be played immediately. Thanks for sharing! Henry

I was going to say that the drums don't sound particularly idiomatically written but I'd be coming at that opinion from a purely rock music perspective - I think they work well for jazz and are definitely possible (although you seem to have a shortage of drum fills which are probably the hardest thing to get just right in a written our drumkit part). I think the brass parts are quite wild and unwieldy! It'd be a disaster for a beginner jazz band and sound really cool played by pros. Did you intend to write the melody for this for solo tenor/alto saxophone without any of those cool ensemble voicings that characterize the saxophone section? Seems you could have played around with different sizes of the ensemble playing/harmonizing the melody in the saxes. Other than that - it's a really cool piece! Thanks for sharing.