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I think you are a very talented composer, and I fully enjoyed this. Very fun rhythms! While I can't call myself an expert in counterpoint, all I know is that it was an extremely enjoyable experience to my ears. The fact that you mostly use short and quick rhythms greatly enhances the longer duration notes you add, which really brings out this piece. I would like to remind you though that there will be constructive criticism of all types on this forum. If you disagree with a remark, that's perfectly fine, but there is no need to get upset. I recently put myself out into the public eye (yikes) by becoming a YouTuber, and criticism is just a part of putting our creative works out into the world. I've read through all the comments here though, and there was nothing offensive being said to you.

Finally, a smooth panning functionality has been added in the latest MuseScore 4 patch (version 4.2.1). Even though it is not nearly as "smooth" as its MuseScore 3 counterpart (dare I say, quite a bit jittery (at least in my opinion)), it is quite a considerable improvement for me, since the video format I have ostensibly specialized in relies quite heavily on this one feature. Unfortunately, concerning the Basso Continuo part, figured bass playback is unfortunately not yet a thing in MuseScore (at least, not that I know of), so I had to resort to fleshing it out to the point where at times it might seem like a totally independent harpsichord line. Still, the additional benefits when it comes to the violin soundbanks are truly priceless, and as such, with the aforementioned deficitary deterrent out of the way, I feel I can finally move on to MuseScore 4 by default. As for the piece itself, I originally conceived it as a two-voice fugue, but eventually decided to add a harpsichord part serving as basso continuo to enrich both the timbre and the underlying harmonies of the intertwined melodic lines in the violin parts. Enjoy! YouTube video link:

@chopin My apologies for my response to @Guillem82's remarks about my work. As much as I should have respectfully defended my work, I'm afraid I'll have to admit I blew my reply out of proportion. I'm deeply sorry that was the case. I should not have behaved in such an immaturerly hot-headed manner, and there's hardly anything exclusive to this forum that could excuse that on my part. I now have come to appreciate such kind, constructive criticism and believe myself hopefully ready to plead responsible for my statements and strive for your forgiveness.

Hello! I recently started writing this Nocturne for my final project in my Music Appreciation class. I wanted to know your thoughts on the A section so far. As you can tell there will be a contrasting B section that hasn't been completed. But what can I improve on this piece? Nocturne_in_E_major.mp3 I FORGOT TO ADD "ADAGIO" TO THE TOP PRETEND ITS THERE.

Hi, Here a piece for I wrote for strings in baroque binary style. Let me know your comments.

You know, I like this piece a lot. You break out of your usual style of writing here, creating a balanced contrapuntal texture that is not dense, with plenty of nice sequences and imitation that brings contrast (the hockets like in mm. 19 to 21 are great). I also don't agree with some of the things @Guillem82 mentioned: I don't see or hear any harmonic mistakes/unresolved dissonances, and I don't mind the doubled notes on the violin. Sure, it's uncharacteristic but in this case it works fine, just like the distant modulations. Moving on to things I don't like...I would surmise it as: There is no apparent organisation or plan of your musical motifs. Let me elaborate. Regarding the first point, I remember saying to you before to analyse what Bach does in the WTC with his fugue subjects in order to get an idea of how to develop them (the formal term is fortspinnung). I really would like to make this recommendation again. It is not just fugues, or even Baroque music that this skill applies to - a control and constant development of a limited number of musical ideas is a trait of virtually all classical music. Especially in contrapuntal music, a failure to do this ends up making much of your music "noodling", where you have correctly constructed melodies, harmonies and parts that work with each other, but virtually zero connection between one bar and another. As an example, when I wrote the fugal section of the Overture of my Keyboard Suite, I recognised that the driving rhythm will be 6 semiquavers-per-bar. To achieve motivic unity, I limited myself to three possible settings of notes to this rhythm: an ascending scale, a turn figure (both of these can be found in the subject), and a rising fourth from the 2nd to 3rd notes followed by a descending scale (found in the countersubjects). You can check for yourself that except at structural cadences, every group of 6 semiquavers in the 242-bar long piece belongs to one of these three settings or their inversions. This is a somewhat extreme example; the Air for example is far more loosely bound by motifs, but I stand by my point. When you look back on your fugue, ask yourself: what is it that ties the whole work together? To me, it's certainly not the subject! The lack of subject entrances aside, the head (very nicely composed) has a characteristic descending, dotted, pattern which completely disappears after the first few bars! The tail (also very nicely composed) comprise of a descending scale and a rising seventh chord in quavers. Both of these elements return very rarely for the rest of the piece. So, if your core musical idea isn't actually the subject, what is it?

Hi @PeterthePapercomPoser Thank you for the comments! I still think I could shorten a bit the developement minor section.

This actually makes me really happy to hear. There's no point in doing all of these composition shenanigans we all love if it's no fun. Plus, even if you don't find something you wrote too successful, you'll find courage to keep moving forward with the comfort in knowing you're always getting better. I enjoyed the music, but man, those trills in second part were killer. There's got to be a way to make them softer to let your music shine... maybe there's some place online that harbors composers like yourself in a community that potentially and freely could offer advice. Oh wait, that's here! Don't be afraid to ask questions here; I've come to know many talented artists and composers on YC, and you'll almost always hear from someone who would be happy to help you out. Great work, and thanks for sharing 🙂

Becoz I type wrongly LoL!!😛

Hi @pool, Welcome to the forum! For the first one it reminds me of the wedding march too! For the 2nd one I am sure you take inspiration from the cadenza of Beethoven's 3rd Piano Concerto right haha!!! It's quite creative to link the carol with the cadenza! For the 3rd one maybe there are moments of 10th interval which will be hard to play, and some of the harmonies can be smoother like in b.1! There are also some parallel octaves like in b.66 between S and T and other places and make sure to cancel them out if you want to write a traditional 5 part writing! Thx for joining and sharing your music to us! Henry

Cheery, festive, and effective! My favourite is the cadenza - I do think it could be a bit more complex in terms of piano writing but that's just my opinion. These would make great light performance or encore pieces for the festive season! Thanks so much for sharing them, and welcome to the forum!