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Here is an other attempt at composing for piano and viola. I think it took me 2-3 hours to compose roughly. Any feedaback as always is highly welcomed and appriciated. Thanks.

Hi @bhelloworld420, welcome to the forum! I did counterpoint exercises long ago so take what I say with a grain of salt. But I will try to make some comments. Hope it helps! First Counterpoint: m.5~6: Nothing technically wrong here. You go to an octave and then a fifth in opposite directions. However, in this exercise, normally perfect intervals (octaves and fifths) are avoided or used rarely. Two perfect intervals in a row is something that normally is avoided (and some people might consider it wrong). Depending of who you ask, two perfect intervals in a row might even be considered a "wrong" movement. This counterpoint has great independence of the voices, though! Second counterpoint: This one has more problems. In m.2 you have an interval of a seventh (dissonance not "allowed" in first species). In m.3 you go to an octave in similar direction. m.4 you move to another perfect interval (same problem as in first counterpoint exercise). Then, in the second half the intervals are technically correct but the bass is overly repetitive. The last five measures are only C-B-C-B-C. You should aim to avoid this kind of excessive repetition of same notes for making the melodies more varied. Also, you start with both voices quite high. Probably starting with the bass lower might allow you to have contrary motion at the beginning. Third counterpoint: Seems okay! You have two perfect intervals in measures 5 and 7. I would still avoid those, specially the octave. But this time they are not following each other, so it is better than in the first counterpoint. Fourth counterpoint: Seems okay but maybe the movement of both voices is too similar overall. In my opinion, do not focus too much on whether sometimes something sounds better or worse, species counterpoint's main goal is not to make music. The important thing is that you are aware of things (that is the use of this exercises). For example, with the using of perfect intervals, it is not so much that they cannot be used. Rather, that, in real music, when in doubt, imperfect intervals almost always are more convenient, so getting used to using them and finding them becomes a helpful skill. Also, regardless of your solutions, be aware of them. If you use perfect interval, try to be aware where you used them and why. If you happen to end up with melodies with lack of independence, try to realize where you did that and why, etc. Using this or that interval is not as important as being aware of having used it. Good job!

It is the same, and it's great! It is so rare to listen to music thought through so well, and with a deep emotional content that goes well beyond the technical abilities or the mastery of expressive music writing. Sometimes life gets in the way, and, for better or worse, life is bigger than composing. But I trust you'll find the time and the peace of mind again, and I hope soon!

Thanks everyone for your feedbacks and compliments! @PeterthePapercomPoser Actually regarding the picture it might be but i can't comfirm as it was really just some random picture which i found on a website i can download image for free xD This speed composition i believe took less than 3 hours i believe maybe around 2 hours? I usually do my speed composition in a few hours but if they are longer than 2 minutes it usually require more days. Thanks all again! 🙂

Toreador march was a prominent theme in FNAF, and it is infact not just a quote for this piece. The first 4 bars, the main theme of the introduction, is built/just variation upon that. Funniest thing? I did not quote anything outside the theme list lmao. 18:50 is a development/variation of bar. 159, it does seem familiar though. I think the theme lists showing the actual themes in different staves, not just a list, is a good idea, never thought of that. The thing is that the purpose of this piece was to share it to the Fanverse community first. I was gonna make a video about this, upload it to YouTube, and share it with the community, but the scoring of this took way too long and I had already burned out. So I changed my plan and decided to upload it here, get some feedbacks, and then maybe some time in the future I'll actually make the video. I did notice that it really relied on knowledge of these themes, hell, I had even realized that this contains just TOO MUCH THEMES mere days before I went to the scoring and polishing stage. I really didn't wanna waste 4 years of effort so I just went on with it. Should've just chosen like 3 themes from the start, but then again, this piece had the community first in mind. Funnily enough, I was going to include "Medley" on the title, but decided against it because I want to alliterate the title and pair "Fazbear Fanverse Fugato" with something, so I chose "Fantasy". You could had actually seen the previous title before I posted this topic in my "about me" section. I haven't checked and commented on this website as often as I used to, before posting this piece that is, but I'll definitely consider checking that once it is done! I've tried to give some sense to this piece by repeating the themes over and over again before entering/introducing new themes, but I do agree that it is a bit haphazard. Thank you! Hopefully it doesn't spiral out of control and turn into a "mess" that is this 35 minutes piece, lmao. Overall, a bittersweet feeling. You know, actually finishing a 35 minutes piece WITH score and engravings (with some errors STILL present, argggh), and you ended up feeling meh afterwards. Oh well, at least I've started a more simpler vocal piece to ease up the slop. Thanks for the feedback.

And P.S.: Congrats on finishing such a huge piece! Working on something for upwards of a year to me seems extraordinary, much less 4 years. I hope that the piece I'm working on (a variations piece on 5 themes) won't end up taking quite as long as that! LoL

Hi @Ferrum. Maybe perhaps it's because I am not familiar with the Fazbear Fanverse and the themes/melodies used in this composition that the intricacy and significance of much of this piece is lost on me? The first time I listened through this whole thing from beginning to end I heard some familiar themes here and there. I'll try to mention what I found familiar and significant in this review. Is there some allusion to Bizet's Carmen at 3:45? Ah, and then of course, at 8:15 you have a quote of "Pop Goes the Weasel" in the minor mode. That wasn't quite as corny as I perceived it the first time I heard it LoL. Is there another Carmen quote at 16:08? At 18:50 I hear a really familiar theme that I can't identify. Another "Pop Goes the Weasel" at 21:00. Did you intersperse the Castlevania theme from the competition in certain spots as well throughout this? 30:28 is "Pop Goes the Weasel" now in the major mode. 32:30 is more Toreador's March from Carmen. This happens to be the kind of piece I am working on right now as well. I don't want to spoil it, but I guess it's no surprise that it's a theme and variations on a few themes at once that's probably kind of like your piece here and partly like a medley. Perhaps it would have helped my comprehension if you invited the listeners of this piece to listen to a playlist of all the pertinent themes that you used in a separate page. This piece relies heavily on the knowledge of the themes for its nostalgic value. From my perspective the music lacks in the sublime and often seems quite haphazard. But you did vary the themes I noticed and was familiar with a bit instead of simply quoting them. Thanks for sharing!

Hi @Bjarke! This is great work! I love the cinematic and mysterious vibe you conjure in the beginning which then slowly builds and explodes into a ritardando fanfare which decrescendos before finishing off the piece. Is the YT video graphic a picture from the movie Avatar? Or maybe it's some AI-generated image? How long did it take you to create this? I perceive this piece to be of a higher quality than the previous speed composition you submitted. Thanks for sharing!

Hello @Bjarke I am really fond of the progressive distortion that you choose to implement in this piece, it sounds like it is trying to take over the purity of the beginning in a way, though, as Henry has mentioned, this piece would benefit a lot from being longer, as, among other reasons, this structural technique is much more effective in longer works as you can see more easily how the music has changed (or kept the same after a rough development), as it has developed more. I would have added the lower strings a little earlier, but that is just personal taste Thanks for sharing Manuel

Hi @Bjarke, I like the opening you create with high strings and contemplative brass music. I like the modulation in 0:47 after a slightly more dissonant passage. The ending is climactic as well and I like the harp at the end. For me the piece feel like an ending of a piece and you should extend it! Henry