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Hi guys, here's a wrote song I composed and recorded. Would enjoy hearing your thoughts. Thank you!

I've been listening to a fair few pieces titled 'Romance' lately, and was wondering what everyone's favourite romances were. I'll Start: Beethoven-Romance No.2 in F Major C.-A. Beriot- Romance from Premier Guide Du Violinste

This fugue, whose subject I came up with around late February this year, has finally been finished over the course of yesterday evening and today morning. Since the subject, albeit distinctive enough, was merely one bar long, the fugue itself is also somewhat short in duration, at least when compared to most other of its kind among my production. Nontheless, I think the stretti section from the middle pedal point on might compensate for that. Enjoy!

Hi new scores I composed today which I would like to share. Enjoy!

Here is my minuet and trio in C major. A bit more baroquesque than my usual offerings, except for the speed. When Mozart was 14, and in Italy I believe, he wrote about quick minuets which a bit more livelier than the stately dance he was used to.

Piano_1.mp3

Hello there Here's the fifth prelude in season 1 of my epic (lol) miniseries of piano pieces. The main idea for this work was to depict an evil yet humorous character, the nefarious Kefka Palazzo. Hope you all enjoy, this was a fun one to write.

Title

There are descriptions from the cideo, here I just copypaste it here. Here you go, after a longgggg time, I have finally managed to release this xD The engraving is a disaster, because I used a MS3 beta feature, so that I could ignore the barlines. The drawback is that I cannot really save, as most of the times after I reopen it, the cross-bar notes are separated again.... So you could see I still have some minor errors (more than 3), mostly at the last sketch. Anyway, the work is written almost entirely in manuscript, with the last stretto section on 3rd sketch the only section that is composed on MS entirely. the first 2 sketches are completely on manuscript, with some deletion of notes due to the playability. 1st sketch is basically a preview of the whole work. It contains 3 segments both are introducing same theme and unique characteristics, with 1st and 3rd segment hinting at the following 2 sketches. This movement is named Allegro, only because it is the original tempo I set before, which turns out to be extremely difficult with the later 2 segments.... 2nd sketch is a quiet, crystal-like work with lots of fifths, except the middle section xD Named Amorioso, the tempo actually should be Amoroso, here however I follow what I have written in my manuscript. 3rd sketch is named Calmo, but the tempo here is just showing the first section of this sketch... The whole work is separated into 4 parts: Calmo - Chorale - Toccata - Stretto, with the latter 3 being veloce and sometimes struggling, kinda to do what 1st sketch cannot do lol The last Stretto section is the longest section of the work, even longer than the 1st sketch. It is a banger to me ever since when I was experimenting with the theme in 3rd sketch, and decided to make it as a finale of the whole set of sketches. It deserves its own sketch, really.... Anyway, this work is really personal: it is not classical, romantic or what. It is just me. Happy Birthday, myself 🥳 Hope you enjoy~~ (P.S. this set of sketches was written after I had heard the entirety of Sorabji's OC and SC.) Comments/opinions are welcome.

Title.

Here comes the 3rd movement. I needed to post this so I can move on with my life lol. Links to previous movements. Hope you would enjoy and comment. Btw I should hold my promise, see if I can tag you @Awsumerguy

Hello @Aled Edwards, I know nothing about rock music. I love the Eb minor verse and the Bb mixolydian/dorian chrous. The sound effect is interesting for me. The mood is quite excited I would say. Your vocal is more tenor and thin and make the song ironic! Thx for sharing! Henry

Hi everyone! I wrote this romantic (mostly Grieg) style waltz as a studie piece. I am applying to the Liszt Ferenc Academy of Music (in Budapest, Hungary) this year, and I am writing this as part of the application (deadline is june 18th). I am hoping some of you can help me out with ideas, how to make it more stylish, more accurate, wether I should extend it with some repeats/variated repeats or not.

Hi! Finally i started summer holydays so I'm able to compose as much as I want to! I wanted to try I new style, and I've been wondering about spanish classical music, I'm keen on folklore and culture so.. Why not trying it? It won't hurt anyone! (Well, it hurt my fingertips). I called this pieces after my birthplace, Córdoba, an Andalusian city where dance, flamenco, castanets and flower are everywhere... I would want to give a short explanation about spanish nationalism: - The usage of Andalusian cadence!!!!!! In a minor key i - bVII - bVIII - V, this cadence whas so popular that it was used among all world (https://youtu.be/cGufy1PAeTU, https://youtu.be/M6GK8HhjQQE this one is tricky, https://youtu.be/SrnWp5O0DEs) - Sections that are purely rythmical (https://youtu.be/SCKDG7w2S9c, https://youtu.be/fnvVFzV0yE0) - Circular melodies and motives - Dance rythms (https://youtu.be/q8rlFjWolvE) I really aim you all to check Albeniz's, Turina's and Falla's works! Must I add that i'm not a profesional pianist, I did as good i could, so please, if there are something not idiomatic or 'tecnically weird' please let me know! Córdoba.mp3 Córdoba.pdf

This is great! I love a lot of the ideas going on here. My only real issue is that it sounds like too many different ideas being mashed together. For instance, you start with a cool quartal/quintal opening, move on to your andalusian themes, have a nocturne type middle section, return to the andalusian, then end with the quartal stuff. I like the form (and the accel. transition), but your 3 main ideas are so far away from each other it'd be hard to make all of that fit together nicely. What if you had quartal harmony in the andalusian section? As in spelling your chords with stacked 4ths or 5ths to give them the flavor of the i - bVII - bVI (you meant to say VI chord, right?) - V. Speaking of, maybe I've misunderstood this whole time, but even though that chord progression is correct, I always tried to make the last chord "home". As in, it'd be more like iv - bIII - bII - I. Thoughts? I'm curious on this. (EDIT: we're both right) Cool music, thanks for sharing! 😄

Anything you'd like to share about the music? Or is this just to meet the comp requirements

Well you see, the only problem with using viola instead of violin, is that my solo viola samples suck lol Thanks, yes I was quite happy with them also To be honest, gaming is kinda just a bad habit. A fun one, tho Thanks for listening and feedback!

Is my rhythm accurate?

Apologies, I attached an ouutdated score and audio file. Here are the correct, up-to-date ones:

One minutious revamp, two of Bach's favorite instruments, three dazzling voices - this piece has it all for me. The title is pretty much self-explainatory. Otherwise, please consider reading my YouTube video description here: Enjoy!

Helloo! I finished a ballroom waltz suite titled Roses, Carnations and Daisies inspired by the very first bouquet I gave to my current girlfriend, and her first bouquet ever given to her. The very first and main waltz represents the Bouquet, waltz 2 is titled "The roses", waltz 3 is "The carnations", and waltz 4 is titled "Daisies". Last time I posted here I got feedback to include a section in a minor key to add even more variation. And that is what I did 😄. This is the piano version even though my waltzes are meant for orchestra. I will orchestrate it as soon as I can and share it with you guys. I am open to any feedback and suggestions 😄 Thank you so much!! Bouquet waltz.mp3

Hello Arjuna!! I'm glad to be back 😄 I am so glad you enjoyed it!! Usually I write the piano versions simple so that way everyone can play it. It helps me visualize the music easier for the moment of orchestration too. The accompinament is usually simple in these versions, although I agree with you I can vary the Oom-pah-pah pattern more. That way each valse does have more variation. I'll keep that in mind! Maybe it even gives more energy to the live performances I (or a friend) sometimes do 😄 Thank you so much again Arjuna!!

Although it's not a romance, my favorite romantic piece of music is Brahms' Intermezzo Op. 118 No. 2 in A major. I actually performed this myself at one time or another.

I really can't think of any romances in the Piano literature, there are ones by Schuamnn and Brahms but I don't particularly like them. Maybe I will just post my favourite Bagatelle here: The op.126 set of Bagatelles is one of my favourite of Beethoven. The pieces are squeezed between the giants of the Ninth and the Late Quartets, but they are very special. I think Beethoven attained purity here, and that purity and honesty will be continued to be displayed in his late quartets, particularly the slow movements. I freakingly love this Bagatelle. It's simple but so moving. Anderszewksi plays so well here to capture that purity, and the tempo is slower than many of the other recordings. I love his Diabelli Variations too! Henry

Hello Guys, This is a new one. It's a kind of romantic music piece. What do you think?

Link to first movement: The second movement to my C minor piano sonata is a work of great trial and error. For those just simply want to listen, please do. For those tempted by spoilers, here's such: I managed to record a semi-decent playing of the 3rd movement, so that should not take too long to be released later.

How did I do? On accuracy? I really like the chromatic pulling of that F# in th melody.

Hello, everyone! This is a recent composition of mine, based on one of Emily Dickinson’s poems. It is almost complete! This piece is not too difficult; on a scale of 1 to 5, it would be a 3 (in my opinion). It is written for a mezzo-soprano. Is there anything you think I should add/change (not dynamics, as I will add those later)? (Forgive me for the use of synthetic instruments; I am merely a peasant.) Thanks so much for your feedback!

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

G'day @SoloYH, I listened to your Quartet and I must say that I wasn't really convinced by it at all. I feel that it was way too repetitive melodically and the Piano RH did nothing which didn't really exploit the full potential of the instrument. You could have just given that Piano LH to a Second Violin or Cello to play. With that being said, you have potential, you just need to refine you compositional technique. I do hope my crticism is of some value and is not too harsh. Kind regards, Arjuna