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G'day fellas, My Saltarello in C minor is easily my most ambitious piece, and the one I've been dedicating most of my time to over the past month. After a couple of weeks of chipping away, I feel like I've run low on where to take it next. I have written several more bars here and there beyond this point (and I'll be sure to include them in updated versions of this composition), but I thought I would first show you how far it goes before the first hiatus. By the way, does this sound more like a saltarello, a tarantella, or neither? Cheers, Quinn Saltarello in C minor.mid

So anyway, the last time I tried to write a symphony was almost 8 years ago, and it was so terrible that it's now called Symphony No. 0 and we never speak of it. I was 15 at the time. I suppose (most) teenagers aren't generally known for writing great symphonies. But I recently tried again. This is now my Symphony No. 1. I just finished it today. It's in one vast, slow through-composed movement. I wonder if, as you listen, it is obvious who my main stylistic influences were. The entire piece is built from one motif, the three-note figure that bookends the whole thing of the rising leap followed by the falling step. I've been working on this for about six months. This symphony was the product of a lot of experimentation and often changing course on the fly. Not only have I never written this much slow music all at once before, but these are the largest orchestral forces I've ever handled, with the greatest variety of orchestral color at my disposal. It's also the first time in a while I have allowed myself the luxury of a harp, as previously I had always been wary of giving myself the opportunity to commit any of a number of common orchestration blunders. I'm enjoying the fruits of the new Muse Sounds I have gained access to by virtue of switching to Musescore. They're wonderful. They can be a bit buggy, but sometimes it's almost scary how human they sound. Curious about how this will be received.

Uploading this in preparation of tomorrow's feast Context Music Hw3 calmer.mp3

Maybe it’s unconscious influencing!

Hey @PCC, I really enjoy your use of chants. Since I myself am planning to write a chant section in own Sextet, now I always love this kind of chant usage! I hope Sibelius Ultimate can write with unmeasured measure LoL! On the fugue, I don’t expect your get this chromatic when the subject and the chant is very modal. Again I like your use of canonic imitation which is also used in the 2nd movement. For me I may just turn down the virtuosity level in b.67 since I think it’s not quite match with the overall atmosphere of the movement! I think for the intensity you may use some 6 part stretto or 3 layers of augmentation? I think the subject will be easy to make this! Thx for sharing! I will finish the last movement. Henry

Hi @Cafebabe, The modulations are quite progressive here and it’s quite moody! I think you can add some more recognisable themes or melodies in the movement, since I feel like it’s more or less the same accompaniment pattern throughout the piece, though it’s saved by your good use of modulations! Thx for sharing! Henry

Hi @Quinn St. Mark, Me like Vince don’t know the difference between them! I have never heard the term Saltarello LoL !! Watching this I think they are literally the same thing?? I really enjoy those complex chord progression! By the way, why don’t you write the piece in 12/8 so that you can cancel out all those triplets? I think those octaves in b.15 onwards can be really difficult to play! I mean even Brahms Piano Sonata or Chopin Scherzo no.3 are around the same or even slower tempo! I think like Vince said, you can develop a bit further first before having those virtuosic passages! Thx for sharing, it does look promising! Henry