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Hello everyone. A while ago I composed a short piece called "The butterfly's wind" and I am thinking of revisiting it so i hope I could get some feedback on it. It would mean a lot. Thank you.

Hello. Here is a piece for large orchestra which i composed sometime ago inspired by morden composers such as penderecki and ligeti. It would mean a lot of I could get some feedback on it. Thank you.

I feel kind of weird not posting as much music as I once did. I've been busy with music, but mostly learning songs from this band I'm in. Since this site has revamped a few times, a lot of what I've posted has been lost, so I decided to share some pieces I've written in the past as a way for anyone interested to hear some of the stuff I've done. Even though a lot of what I'll post in these here "archives" are works I probably won't edit or revise, I'm always open and would love to hear some of your thoughts and critiques for the future. This was an experiment with quartal and quintal harmonies, and building them with sustained and elastic chords. I remember trying to make music interesting without the focus being on a melody. The goal was to depict the ocean with lots of color and texture. I wanted odd melodic phrases to blend and blur. There weren't any intentions to extend this as part of a multi-movement suite or anything, but hey, if there were ever a prospect of a performance than maybe. I'm someone who loves to see a score, but sadly I wrote this entirely in Cubase so no presentable score. At some point I'll maybe notate it all out. I hope you enjoy!

I really don't think this is the best way to think about things. Parallel fifths (or other contrapuntal "errors") can be fine. In some contexts, they're very effective! In others, they are deeply enough buried that they don't really strike the ear. Open a score by, say, Handel, and with a little bit of searching, you will likely be able to find parallel fourths, fifths, or octaves somewhere. You shouldn't think, "Oh, this piece sounds good, but it has the technical error of parallel fifths here." You should think, "Maybe this piece would sound better if I changed it to avoid the parallel fifths here." And if you find that it doesn't sound better, leave the "error" there. Traditionally, two timpani were used, with a combined range of F-F. There are bigger and smaller drums that extend the range downward and upward, so you may be OK going down to the low D. The bigger issue, I think, is to decide how many drums your score is going to call for and then stick to that. In Beethoven's day and earlier, two drums were used, usually tuned to the tonic and dominant of whatever key the piece is in. In modern orchestras, it's common to have four drums. The usual practice is to decide what pitches those drums are each tuned to and indicate it at the beginning of the score, then only write those notes for the timpani. If you need a different note, the drums can be retuned in the middle of the piece, given a few bars of rests - just add a note to the score at the point when the tuning should be altered. You can also do glissandi where the drum is retuned while a roll is being played, or after a note has been struck. Now, maybe an expert timpanist could play something like what you have in m. 8 on just two or four drums by retuning while playing, but you'd still inevitably get a pitch-bending effect, which I don't think is what you want. In general, though, the exact pitch that the timpani is playing - especially in loud passages like this - is less important than you might think. If you were, for instance, to rewrite that measure with the timpani playing the same rhythm but holding to the initial pitch of C, it would probably be just as effective. The combination of the timpani with the cellos and basses often tricks the ear into hearing a single bass line, rather than hearing the timpani in harmony with the bass line. Or, if you decide to use four drums, you could have them tuned D-F-A flat-C, and either remove the sixteenth-note passing tones from the downward figure in m. 8 or move those passing tones up or down a step to put them on playable notes.

https://youtu.be/niF12MU7I1o https://youtu.be/hVqrW-fPOQ0

Kia Ora Carl, This is a brilliant piece for violin and piano. First I'll address your questions: The bowing looks comfortable enough to me, though the ending in my opinion should be on a dwon bow as up bows are much harder to accent. The double stops are mostly playable on the violin, though the section from bar 77-80 is not that playable as written right now. I'd extend the high D to a dotted crotchet. My only real problems with the piece are that section from bar 77-80 and that this audio really doesn't do it justice. I'd love to learn this and record it with a pianist if you wish, I think it'd be benefited by a real performance. Nga Mihi, Arjuna