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Great work as per usual! The counterpoint is masterful, though the dissonance in the beginning was jarring at first, it works well I think. Especially after more listens, it makes sense and isn't so jarring. One thing that I felt was problematic was that the low lines were sometimes muddy, which is hard to avoid when you have two voices in the same bass register. I do think it would sound much better with real instruments though, so it may be alright. I also felt that the sheer number of tuttis, though masterful in execution and contrapuntal technicality, create a bit of a repetitiveness throughout. Alot of this repetitiveness went away by about the fourth listen as I began picking up better on the intricacies and understanding the structure, but the fact that it took so many listens to get that point might mean something. Or maybe I'm just bad at listening to fugues other than Bach ¯\_ (ツ)_/¯ So, I guess after so many listens, most of those issues disappeared for me, except the muddiness of the cellos in some instances. Overall, solid work writing this 6voice fugue. I'm excited to hear it in the context of the rest of the movement.

It's changed a bit overtime, but I've always written music for myself. I only started sharing music online fairly recently I'd say, and I've still only shared a small-ish portion of the music I've written. This has evolved over time because I've found that when I receive feedback, even if I don't like it at first, I end up getting a result I like better. So, I guess I write for other folks, (those that help me improve namely), but ultimately, it's for my own enjoyment and expression (which has been especially expressive lately because I'm going through the angsty depressed teen phase that Henry so detests lol). It's interesting because it seems most folks so far write music for themselves over writing for other peoples' enjoyment. I guess I kindof expected such, especially on a forum which has such a high concentration of more "classical" composers.

Hey Jonathon, I am so touched by your listening piece multiple times!! That’s the happiest thing a composer can have and thx so much! Yeah it’s deliberate and maybe after getting used to it it becomes better haha. Just like our dear Schoenberg. Yeah definitely! One thing I think I can improve on is that I sometimes get lost while writing and ignore the spacing issue between the voices, especially for the two cellos. I hope the real cellist will compensate on that! Haha I use so many stretti here and that can be too saturated sometimes which result in the repetitiveness even though it’s a fugue which requires it haha! Or maybe the music is not easy just like me myself LoL! But I am very appreciated that you want to understand the structure of the piece. Thx so much for that. And, who dares to compare his fugue to Mr. Bach??😜 Yeah hopefully it makes more sense combining the context!! Henry

Hi @tj2024, Welcome to the forum! I really enjoy the energy of the first section with those changing meters and repetitive percussion ostinato! It really gives the music an urgency. Lovely colour as well. I like the slow section with the use of marimba! The funeral march quality with those brass and bass instruments is captivating. Maybe only the transition to it a bit abrupt for me, and just feel the section a bit too long for me, but this is personal. In the Agressivo section those acciaccatura is so Berlioz like. The effect here is great with those brasses. I feel like the ending a little bit abrupt but I like how the climax is attained. Great job especially given how young you are. I hope I can compose like you when a I was 17! Thx for sharing and joining us! Henry

Hi, welcome to the forum. Very much enjoyed your piece. I especially love the fluid passages in the woodwind beginning at Bar 217, and the beautiful motif on the piccolo in Bar 235. I wondered what instruments are scored in the Accessories stave? Is this a set of bass drums? Also the percussion staves labelled 1 and 2? N.B. Master scores tend to be written in concert pitch these days, rather than transposing pitch. Makes it easier to spot errors in the harmonies, and rogue accidentals. At least that's what I've been told. (Not that you have any errors here.) You have a few notational issues where symbols are printed on top of each other, e.g. Bar 24 in clarinets 2 & 3, the cresc hairpin overlaps the note stalks. Not sure how to fix these, as I use different notation software. Anyhow, thanks for posting. Look forward to hearing more of your work.

Honesty I guess for myself. I compose out of inspiration, mostly visual, then compose based on that visual. I have however been trying outside this territory and doing more classical settings. But I compose from imagination and creativity, that is what i thrive off of. When I see an interesting visual or hear an interesting story I am immediately inspired to compose in that regard, hech sometimes even putting the visual on screen while I'm composing. Many times I'll actually create my own stories so that I have a visual to think of for the music itself. Other times I just create from pure imagination tho not rly having a visual or story but instead something to draw inspiration from itself. I've made songs where I even inspired myself lol. But yeah I guess I compose for myself and the beauty of the art. I always have loved the arts, every kind, but music is very special to me. I guess i connect with it the most.

Difficult to answer. My stuff is more abstract, surreal and (in common parlance) discordant. Been described as "postmodern" in that it takes what it needs from different "schools", sounds serial but isn't, interspersed with isles of tonality and chromaticism. My titles are usually non-committal. So I really don't expect much response especially from members still writing in keys, standard rhythms and structural forms. If I get even one reply I'm lucky! I'm happy to receive any criticism good or bad. It's always possible different views may help to solve unsolved issues. I'd ask for comment on overall structure, duration, scoring. Does the work make any sense? There's also the matter of how many reviews I offer. It's always time: time devoted to composing; to practice; to (professional) work; household admin etc., so time is always at a premium. If I'm unable to review many works of others I can't expect them to review mine. I'm more likely to go into detail with work from a less experienced composer where I may be able to make suggestions. One does ones best.

Given your declared experience this is a very good work, a well chosen ensemble, rhythmically unpredictable in places which sustained interest through a few surprises. The slower passage from somewhere after 2'45" was mesmerising. Great use of percussion, good rendering and good, detailed scoring. Good work.

I suppose I write just for myself. My goal is to write music that I think sounds good. I'm under no illusions that anyone else will ever listen to my music for pleasure. Nonetheless, I must admit that I do care more than I probably should what others think of my music. I'm not really sure why.

For me, it's a combination of many factors. I started being trained in violin (now my day job) when I was a toddler, around the same time I got to see Les Miserables on stage for the very first time. I struggled to practice, but I fell in love with the stage. All throughout my childhood, I gradually gained a greater and greater appreciation for both violin and theatre, but never reconciled one with the other. I began writing because it seemed like the natural progression of things, after all, [pick a great composer] began writing when they were only 5, so why not me? In first grade I wrote a song, but didn't write anything down on paper again until middle school; but I kept writing, just in my head, or simply improvising in the moment, in the meantime. When Noteflight came out I was going in to high school, and began using it to write. At the same time, my school announced that they would be doing Sweeney Todd- I'd never heard of it before, and it was very much love at first dissonant chord. I never did my homework in high school, instead choosing to practice or write in any free moment I had. In college, I elected to triple major (though I only ended up getting two of the three degrees) so I'd have an excuse to really focus on writing. After college, I didn't write for a long time due to trauma. After another trauma (and concussion), I started writing again, and haven't stopped since. I don't know. I'd like to be able to say that I write because it's my purpose in life, or because I have something I want to share, or better yet, so that I have a legacy that remains behind after my death. Those are certainly all true statements, but they're not why I write, nor descriptive of for whom I write. You see, I was kicked out of high school. Just before the verdict, I asked a teacher if I'd ever star in a musical. They said, and I'm paraphrasing here, "You don't have the looks, voice, or presence. No." So I resolved to write my own show, a la Lin Manuel Miranda, to star in myself. I very much write because I simply want to, fueled by spite. It's not noble, it's not poignant, and I really don't care. After being hit by a car and having my dream of being a symphonic musician snatched away in an instant, I really just have the one dream left- and the more people that tell me I can't do it, the more I want to prove them wrong. 🙂

That's sad! I do hope your local orchestra starts up again! That must have been a great asset to have an orchestra ready to perform your new works. I have sometimes dreamt of holding concerts of only Young Composers Forum works from the past 1 - 2 years. I bet people would be amazed that new music can still be so entertaining and accessable!

Thank you so much! Song came first, by about an hour and a half. Was inspired by watching the snowfall. This song is what came to mind...Then, around midnight, I went outside with my camera and took the footage that I envisioned while making the song. And edited it all together!

MP3 Play / pause Lute Guitar Sample 0:00 0:00 volume > next menu Lute Guitar Sample Laouto Sample Laoud Improvisation > next Looks like a mandolin.