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Hot dang boy are you lucky. You got a review from @Henry Ng Tsz Kiu. Man, just typing @H pulls up Henry first. He's our forums most illustrious member, and anything he says is Chinese wisdom we all learn from. Sorry, I'm an unsuccessful clown with a guitar. 🤔 This was great! And wow, for your first piece, you have a studio performance? Wow, holy opportunity! I hope you asked them every question in the book, because the more you know of their instruments, the better you'll compose for them. Do they work with your school? What's it like to study abroad and record in Berlin? It sounds like you have an incredibly interesting story to tell 🙂 I agree with Henry with the score being rife with labeling and coloring. It's cool to see your analysis, and there is an audience for that. It shows you care enough to explain in further details questions listeners might have, or that you know your stuff. But I'd post a version of just the score too; I bet it would get more views than the analysis version 😉 Your music is lovely, and for your first composition, this shows a lot of promise. I like that your background is film scoring and the like. It'll help shape your voice, because it's your inspiration. But I really encourage you to study up on the great composers. Watch Youtube for hours of the score videos. It's free, bruh. Look up Romantic-era composers first; it seems to suit the style of the film people. But let it lead you to others. Study scores of Chopin and Beethoven (and WOW, many more!) if you're writing for piano. A lot of your parts are elementary and conservative, especially in solo moments. Guess what, that's ok! You made it work, you went through the recording process, the whole shebang. You COMPLETED your project, and you followed through. That's what it takes to make it in my eyes, to see it through to the end. Congrats 🙂 My advice, like I said, is to keep studying up on the instruments. I forget... do you play an instrument? It would be greatly beneficial to you to continue to explore one instrument in it's full capacity and to write for it in tandem with your school studies and projects. I'm a guitarist, and my knowledge gained of the instrument always leads me to perpetual new ideas about what other instruments might be able to achieve. You seem like you have a lot to offer the musical world, and hopefully the forum here. There are loads of talented people here to learn from, and their advice is free. And if you want piano pieces performed, Henry Ng charges $1,000,000 USD for a complete full album. It's worth it Oh yeah, welcome 😄

Hi, it sound really good and feels approviate for a religious porpuse. Well done!!! I would like to see some organ or keyboard score to have a closer look to the harmonies...I am terrible reading C key. By the way is ther a particular reason of using C keys? I sing in a religous choir myself and I have seen it very seldom.

Hey all! I just completed what was for me a massive project, Three Scenes for Ensemble is a set of chamber pieces (one of my first compositions) which I composed and recorded at the legendary Hansa Studios in Berlin. I felt this would be a great place to get some feedback. I know it's a ton of music, but it would be incredibly helpful to even if focus on one measure to show an example of different choices I could have made orchestration-wise, harmonically, notation-wise, etc... Thank you in advance and I hope you enjoy! If you would like to support please consider also listening on Spotify. Score Video: About the Music! Credits: Composer: Nicholas Schuman, Flute: Thomas Hahn, Oboe: Anna Schulkowski, Clarinet: Constance Morvan, French Horn: Melinda Gál, Piano: Daniel Zhao, Cello: Josiah Simonds, Sound Engineer: Arne Bergner, Assistant Engineer: Marian Hafenstein

Many incredible moments! It is bursting with color with a subtleness not everyone can balance. Bravo! If I may begin a discussion about some of the orchestration, you are free to respond by explaining why you made these decisions rather than me just claim them as 'mistakes' whatever that means in terms of music 🙂 - The flute is much too low to be heard over the instruments, many of which play in mezzoforte. I understand it is not a solo instrument and you want it to blend, but it would be completely swallowed up. It is also too low of a register to play mezzoforte itself since these low register are very delicate in terms of air flow. Usually you would right louder passages higher on the flute and quieter passages lower. Think about how the flute works overall, the 1st partial (octave) is reached by overblowing the given note, so the lower notes need less air by the nature of the instrument. Hope this makes sense. If you wrote the part an octave up, I believe you will still achieve what you were going for since the flute is still rich and woody until you get into the higher 3rd register. Another option, would be to right it as an Alto Flute, which is one of my favorite instruments. It has an incredibly warm and beautiful quality to it. - The second violin enters in a piano dynamic at the end of the first page and later on crescendos back into piano, i dont see a real need to have a piano violin over a mezzoforte viola, maybe you meant to write mezzoforte from the beginning? - I see you thinking very much like a conductor in terms of dynamics which is great, never loose that instinct, but the players may not interpret it how you think. remember they only have their own parts so when you have violin 1 playing piano and violin 2 playing mezzopiano, there wont be much of a difference. Sometimes less is more, or at least accuracy is more. Sometimes writing 'solo' over an instrument is all you need to tell the player to stand out or even simple crescendo marking or hairpins rather than inconsistent dynamics all throughout. I would say score read specifically with dynamics in mind, probably impressionistic French or Russian composers. - Also check your rhythms to make sure you don't blur any beats. You should always be able to see a strong beat. Amazing work overall, dont let my thoughts change this great creative accomplishment. Thanks for sharing! -Nick Schuman

I absolutely love it! You clearly have a great grasp on theme and repetition. I can also really 'feel' the off-axis left hand with those 16th rests, it works very well. The accompaniment perfectly adjusts to the highs and lows throughout. Such as the beginning of measure 15 having an up-down direction in the left hand, but in measure 17 it climbs higher, staying on the top of the staff as it crescendos. Well done!

This makes sense, considering I thought this was your piece from the title. I thought, "How come Luis isn't using chord names anymore?" 😄 Lovely piece Guillem, it's very elegant and stately as the style represents.