Leaderboard

Hello dear young composers. Here is my new trinket, composed for orchestra and solo trumpet. Samples, of course, (unfortunately)... I hope you like it!

Hi @Alex Weidmann! I really like this piece! I think it shows an evolving sense of individuality in your melodic and harmonic choices. One thing that I find objectionable is how separated your melody is when it is first heard on the Violin. I think it would sound so much more flowing and beautiful if it was all played legato and connected which the Violin is much better at playing. It would sound much more idiomatic too since the Violin is more suited to playing connected phrases and it's actually more difficult and laborious sounding for it to separate the notes the way you have them. If you had the main theme legato it would also create a nice contrast between that and the section at measure 46 where the Violin has repeated staccato notes. Also, what if you had a ritardando into measure 58 instead of keeping everything at the same tempo? I think it might help create more space and give the listener a respite from the continuity of the tempo up to that point. But I really like the modulation and harmonic adventurousness you exemplify between measures 44 and 58! And you keep the phrases short enough for them to played in one breath by the Clarinetist! Thanks for sharing.

Hi! Thanks for your feedback. Yes, I'm aware and it was deliberate

Bravo! Indeed, this is indeed the case, and moreover this passage that you mention precisely gives the name to my play "the astral tide"... (hantise at 2:52) and it is also about a similar coda in « l’hiver qui vient », for voice and orchestra, composed when i was Young… So I drew on all this without imagining that someone would have the insight to notice it... Congratulations again for your very good musical memory! Thank you in any case for your listening and this enlightened comment!

As a wind player, and from advice from other wind players, they usually will find a note to drop to sneak in a breath. Wind players are very used to playing passages that don't have opportunities for breaths. Also, when I played it on bassoon, I was able to sneak in a breath during the triplet eighth note breaks. Thank you so much for listening! I'm glad you enjoyed it.

A lovely romantic lyrical work. Maybe the repetitive left hand in the beginning theme can be a bit more varied. Mark

I didn't learn this too long ago either but generally there is no incentive to write in octaves because this is done when selecting the voices you want on a particular manual (referring to bars 7-11, but also the pedal sometimes in general) and you don't have the sustain pedal on the piano to do the legato for you. Do you intend the whole movement to be played by flute or is it a software limitation lol What do you want to do after this? a few more movements? or a fugue? or both?

Hi @Cafebabe! There is something to be said for reinventing the classical style like you have here by using haphazardly put together random-seeming phrases. It sustains interest through a constant exposition of pure novelty. Usually, in this style, there should be some space allowed for themes to be exposited and some repetition for the themes to be recognized as such. As is, without a score, I can't really tell if the ideas in this piece are related to each other or not. They seem really random and chaotic. But like I said, in order for music to become somewhat catchy and like an ear-worm, some repetition or sequence is required. The music sounds like it's flying by the seat of its pants so to speak. The tempo change near the end has no reason or justification for it. Most of the piece's musical elements seem to exist simply for their own sake though so there's that disadvantage. Although if you isolated some of the more melodic parts of it and developed them and gave them room to breathe it could definitely be improved. Thanks for sharing!