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@piajo @PeterthePapercomPoser @MJFOBOE @MantisToboggan, thanks for listening, it really means a lot to share a thought or two! Your words mean a lot, thank you 🙂 Suffering and death were what inspired this, and I don't know why this music full of optimism came out. Maybe it was my escape from it. Maybe it was a refusal to believe what was happening. Regardless, it's a part of all our lives, and although sad in the moment, it's as natural as breathing. There are some moments that felt incomplete to me. I could have tinkered with the percussion and harp all damn day, but in the end, I'm happy with how it turned out. Maybe I'll revise it at some point, and comments like yours will help when the time comes. But for now, I like how you commented as if reading a story, marking the highs and lows as you typed. Thank you for sharing your thoughts. This would have sat on my computer for years without you urging me to post. This was a lot of work that would have gone to waste if it weren't for you; you're a good man and good friend. Thanks Peter. Thanks for referencing a composer I didn't know! I love the piece you recommended, and thanks for listening to my music, I can for sure hear similarities with what I wrote. 🙂 My man, thanks brother

Hi, the symphony has a definite "Americana" feel to it ... with a touch of Afro-american influences. It reminds of Florence Price's Symphony No.1. It's an interesting work by a African American Woman. I enjoyed performing it a few years back. https://en.wikipedia.org/wiki/Symphony_No._1_(Price)

Hey @Thatguy v2.0! A lucid, absorbing piece of orchestral music! The introduction of the melodic material is cleverly interwoven with counterpoint from multiple different solo instruments. And there's also some blues elements in the use of the b3 in a mostly major context. I love the effect at 2:40 and 6:26 where the trombones very slowly glissando up to the next chord. It really makes the harmonic changes so apprehensive. The piece is thematic and motivically driven. Only after multiple listens can I now really appreciate all the thematic and motivic elements and how they're developed. I like how the Piccolo brings back the main theme near the end at the 14 minute mark. The flourishing and cycling through various keys before the end is also very effective at bringing the piece to a satisfactory conclusion. Perhaps my favorite part is around 4:40. I also really like the pizzicato part at 8:38. Throughout the piece you overlap the entrances of various motifs in the different instruments. And they're all nonetheless clearly related to each other and to the main theme of the piece. It took a lot of work and dedication to write this 16+ minute orchestral piece and you should feel satisfied with your accomplishment! Congratulations and thanks for sharing!

I don't really have any criticism. I just wanted to share my thoughts as I listened the second time, because to me, this piece simultaneously plays contrasting elements really well! I get a similar feeling quite often (which I refer to as a "sinusoidal mood with varying frequency"). Though I generally don't listen to symphonies much (which is why I can't offer useful feedback), I liked this quite a lot! I really like the introduction. Starts off a little ominous or uncertain, and then seemlessly transforms into something ethereal and happy (which to me reminds me of music that could accompany a character's first few of a destination in a fantasy story), and back again! The grace notes did feel a little odd to me, like a jazzy or humorous element, but that might be a repercussion of system-generated sound more than anything else. Those contrasting elements continue in the next lighter section, and they still go together so well! The happier elements almost feel waltz-like, and the minor tones like a stumble or a hesitant step, if that makes sense. The Tutti(?) at 3:20 reminded me of a scene from HTTYD 2, again with that feeling of our character seeing a new and otherworldly destination for the first time. And then again at 7:04! I thought around 7:50 it would fall into a despairing mood for a bit, but no, that optimistic voice is there again! I really like that because I'm particularly fond of pieces of art that aren't pessimistic (assuming my interpretation is somewhat right). That bit of percussion around 8:35 felt incomplete though, which I think could be developed more as it sound a bit like a metronome, though it also works to give a "pausing" or trailing off effect. 9:20 onwards finally started to feel tumultuous, as if the emotions our character has bottled up are starting to leak out, and yet the optimistic voice comes again. In general, I really like the melody of the woodwinds at 10:42 and the strings at 11:36, and every repetition or variation of it is like a spark of joy or some form of comforting epiphany. I think around 12:50 onwards feels incomplete, as if it's either missing elements or is like a placeholder (relative to the rest of the piece), but the shift in the mood until 14:00 is a nice change! The melody I like comes again at 14:42 with its uncertain partner, nice, hehe. The ending is strong and turns sweet (I love the piano and the harp(?)), though it feels incomplete, as if something is unsaid. Overall, it's a lovely and interesting piece. Thanks for sharing!

Here's a one movement symphonic overture, pseudo sonata form. I'll post the score when it becomes legible. I won't pretend, I haven't written for orchestra in a long time, and previous attempts were futile. Any of this is subject to change, so any recommendations from all ages are welcome. I wrote this off and on for months, and honestly haven't touched it in a while since the subject matter was pretty personal and heavy. But, I guess it's time to share the progress. I hope you enjoy

I know I'm late to the party on this post, but I'd like to add to @PeterthePapercomPoser's comment. I agree the piece is overwhelmingly in 6/4, given the accents provided in the music that suggest the measure ends at 6 beats, with the quarter-note being the predominant duration (hence the 4 in 6/4). However, I'm also hearing parts of it that suggest there are 2 measures of 3/4, then 1 measure of 6/4, that repeat within it. (The percussion hits tell me this, as well as the chord's leading tones, in how they're guiding the ear along the melody. It's difficult to explain how my hear ear travels with knowing where each barline is or should be at between the measures. I hope I was able to come across understandably enough lol)

Dude, this is cool! I'm loving the Afro-American Jazz era-style chord voicings here. The use of Grace notes to accentuate the melody and countermelodies beneath it works well. Creative chord progressions, and powerful transition choices. I also heard you've got good skill with balancing and giving each section of the orchestra a "featured" moment within the work. Which is always appreciated by live orchestral groups, for sure. (I'd know! I used to play in one! Loved getting me a Trumpet solo that ended on a high D6 or D#6. Those notes, specifically, when played well by a trumpeter will just ring out and resonate well after the player cuts off. Love those moments, in my previous experiences. anyway, I got off track. ADHD brain.) Overall, I don't think you've done a bad job here at all man. Props to you for getting out of your comfort zone to try doing orchestra work again. You have a knack for it, like many others on this platform do! 🙂 You fit right in, brother.

Really exciting and complex piece.

Your melodies remind me of the Czech composers ... i.e, Dvorak and Smetana. They are lovely and lush with lots of sentimentality. Mark

Peter is the analytical king of YC, you'd do well to heed his advice. I thought the transitions were ok though. Maybe the textures were a bit "samey" to my ears, but I feel like I say that to everyone, so it's probably just me. Wonderful work, you should post more often! (even if it's to say what you like or don't about someone's music).

Hi @Nazariy! What a wonderful Mahlerian tour de force! Although on second listen, it also sometimes reminds me of Wagner's Prelude to Lohengrin. The piece begins with an underwhelming chromatic theme which leads contrapuntally to some beautiful harmonies. There are many Mahlerian moments such as the sudden sforzando horns at 0:59, 7:06. And of course the many typical chromatic inflections that help your themes develop harmonically. There are some spots that to me sound like the phrase was suddenly cut off or concatenated or like a more fully developed/worked out phrase was forthcoming or implied. 1:13 and 7:24 in particular are spots that sound like they were perhaps poorly spliced together or like a longer and more thought-out transition is needed to make them mesh well together. But I perceive these spots as the only weaknesses in a piece that is on the whole, very enjoyable and lucid throughout its duration with a satisfactory ending/conclusion. Thanks for sharing!