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I've been working on this piece on-and-off for about two months now. This piece is a reworking of an older chamber work (you may remember the Grande Valse I wrote nearly a year ago) into a much larger orchestral setting, since I planned on submitting this piece for a competition I felt like attempting around the end of December of last year. Doing so was apparently much, much harder than I expected with this particular composition: there were a lot of inconsistencies in the written music, orchestrally unsound harmonies, and otherwise confounding structural decisions that made it an extraordinary pain to orchestrate this whole thing in its entirety. To this day, I haven't been able to complete it. This piece also happens to be my first serious attempt at an orchestration from a chamber piece, which is why I find it a more challenging task than others more well-versed in orchestration probably would (a 21st century Ravel, I am not). I've had to rewrite entire sections because of the issues mentioned above, and I've found it alarmingly difficult to write with a reasonably consistent output for some time: there were many weeks where I would suffer from composer's block, and I've only got about a month and a half to go before the submission date is due. I would therefore like to ask the lovely people in this forum for some help regarding what I can do about my piece as it stands and what I can do to combat the composer's block I'm currently suffering from. All feedback is welcome! I hope to hear from you all ☺️

Just wanna know so next time I can consider this for similar pieces. This is kinda like a mix of three different parts ( and a fourth part which is a climactic version of the first part ). Allegro Vivace " Cool And Fun Dances " ( From my " Children Scenes " Collection 😞 https://musescore.com/user/62605720/scores/14383009 https://www.youtube.com/watch?v=691x8k4vbtw My second shortest piece thus far : )

I would say yes. The more distinct two parts are, the more elaborate the transition must be. I suppose it depends on the effect you want to have, although the "surprise change" is often an excuse to put one section after another to make a longer piece. In this case, the change from measure 43 to 44 is especially evident as it not only speeds up noticeably but changes from 4/4 to 3/4. In addition, it suddenly sounds like a minuet or similar. The return in measure 82 to the Allegro also has this effect, but perhaps less so because the density of textures is more similar between the parts. This is an issue that concerns me a lot, and there are techniques to make these changes.

mine is for early keyboard instruments and it’s very rare to see slurs in this context but they do happen every now and then. because the style is generally a lot more articulated than later keyboard styles, i think the slurs are there more to group the notes rather than to demand legato. i only included slurs in the first couple measures to indicate that the notes of the jig rhythm should be grouped together thereafter

This Pavan and Galliard is something I started writing all the way back in Spring of 2022 but put on the back burner because of learning new pieces. It's really intended for a virginal or other plucked keyboard but here it is on clavichord. I consider the Galliard to be much better than the Pavan, the lively character is more reflective of the dedicatee, so if you want to you could skip to that at 7:42. Not that I think the Pavan is mediocre at all, but yeah. I intend to write the score in a font similar to that of My Lady Nevell's Booke, and record it on a better instrument at some point.

A Hare (clarinet), with his pacer (flute) quickly starts the race, confident of victory. The sluggish Tortoise (bassoon), plods after. During the second half, the Tortoise passes the Hare and wins. To see all the reviews for this entry go here: Entry B - 'Fabula' by @rsn