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Hey @Luis Hernández, I love how meditative the music sound. I like it. It sounds simple but very soothing. And I love the meterless meter like Medeival music as I always love Gregorian Chants to be honest. I love the term Peter LoL. I like using a complicated term to describe simple music style like academics who use the term postmodern for every empty arts LoL. Thx for sharing! Henry

Hello This is a very simple piece. I want to express how I think these weeks are going to be for me. Greetings.

EDIT: Changed the name of the piece from "Sentimental Minuet" to "Romance" since I received feedback from several people that the piece was indeed too slow and the "minuet" label was misleading. I believe "Romance/Romanza" fits the style of the composition much better. Hello everyone, I upload here the arrangement for String Quartet I made of my "Sentimental Minuet for Piano". It was originally a saxophone quartet but I realized the melody was always played by the top instrument and it felt repetitive. I tried rearranging the saxophone quartet but it became too hard. Since I understand string instruments a little better I turned it into a string quartet to be able to arrange something less repetitive with the melody going through all the different instruments. Any feedback about the arrangement or the composition itself is more than welcome! Thank you and hope you enjoy it! ------- Original Piano Piece -----------

I'm almost done with this piece, I just want to see all you nice people's thoughts before I call it complete. The program is in the last post I made about it: Thanks in advance for any helpful criticisms or advice 😄

The root note of the new home key is the note that the augmented chord was gravitating toward. Heard one after the other it makes more sense imo. Also, the keys of all the movements outlines a D augmented chord: D F# A#(Bb in this case for ease of reading and writing 😅) and D again. It’s all part of my massive big brain hyper-genius plan 🤯 (sarcasm) I am actually not a string player! But my brother is and I always have him test my music lol. You’ll notice I have very simple bowing in this movement for the exact purpose of giving the string players an easier time lol. (Sorry lower strings 😬) Hehehe, once again all part of my evil plan 😈 The light scherzo is meant to be “interrupted” by both the sighing motif and the english horn motif from the first movement. It’s nice to hear a second opinion, and interestingly, Tchaikovsky was a massive influence for this movement! Thanks alot for the feedback, I look forward to your “indefinite” future comments! 🤣

I think you said that last time, and I agree! It’s just difficult to compose with the fast chromatic runs 😭 the main thing is that the allegro part is my subordinate theme and I want the exposition to be successful in its EEC, so I need to not modulate TOO far xD but I agree. It gets a little repetitive 😅 Hmm. The problem might in part be due to the program because the dynamic there is forte and fortissimo, but I’ll start the crescendo earlier, maybe even make it start on fp to accentuate the cresc, and maybe I’ll make it molto accelerando instead of just accelerando 🤔 Hehehe that’s what I wanted 😈

I was trying to limit myself more with auxiliary winds with this piece lol, and I thought it worked fine, but I’ll try a piccolo, or maybe just use the very highest register of the flute. I’ll see what works. Yup! 👍 I’ll try that too, but I’ll probably end up preferring how it is now 🤣 I may have stolen that accompaniment from the 3rd movement of Mahler’s second symphony 😬 Thanks for the feedback! I always appreciate it.

Hi @NicholasG, The opening sounds exciting, but the whistle reminds me more a football match than a march! I like the marching rhythm though it sounds more like an advertisement music for me to be honest. The opening C minor passage is great, it reminds me of the background music of Merry Christmas Mr. Lawerence when David Bowie kissed Ryuichi Sakamoto! Thx for reminding me Peter, as I immediately turn my volume down reading your comment 😛 Thx for sharing! Henry

Hi Jonathon, It's surprising for me to have the 2nd movement in F# major in a D minor piece despite the previous movement ending in D major! String players always said F# major (or Gb major) difficult for string players but you are a string player yourself so I think that's not a problem! You really capture the scherzo style, and I like those chromatic fallings before the end of it. I actually think both the modulation to the C# minor and changing the tempo to Adagio in the Trio section a bit abrupt. Maybe personally I won't change the tempo to Adagio, but that's subjective. Also you should change the key signature there! Like Peter said I love the pizzicatos there. For me the retranstions works fine as it reminds me of the Scherzo in Tchaikovsky's Fourth Symphony. Thx for sharing! I will finish the remaining two movements indefinitely haha. Henry

Hello There, It's been a while since I posted here but just wanted to share a few works I've been working on thus far They are quite short and are meant to be pleasant + enjoyable; the works are based on themes by classical composers which may sound familiar. Since I am dealing with a new idiom, I'd love feedback on my approach to jazz harmony and ensemble balance. Just giving a few general impressions should be fine Thank you peeps.

A jazzy pastoral short piece I composed last winter. Enjoy!

Hey @Alex Weidmann, I think the Prelude is rather like a guitar piece haha, I don't know why. For the Fugue, I just don't get why it's a fugue 😛. I don't find the subject! For the Chaconne I like that you are increasing the intensity by having shorter note values in later passages just like a Baroque one. That's my fav. of the 3 movements. Thx for sharing! Henry

Hi, thanks for your analysis. I think I can take away from what you wrote.

I really like the first piece “I don't know”. It is very meditative and calm. You can feel the improvisational nature. The phrase at 1:10...., is good, those parallel notes are original, the only thing is that at the end, rhythmically it goes a bit out of the general mood of the piece. The second “I got it wrong” is in the same line. Very nice part from 00:30 that sounds very delicate. I think you do well to bring these improvisations forward. Maybe they will evolve in the future some pairs into something else, but if not, they are also fine as they are. Writing music helps me a lot of times. Best regards.

@PeterthePapercomPoser Yes, I have been delving into the tintinnabuli technique, which I find fascinating. I've written a few things on my blog about how to use it. Bilingual. There is virtually no information in Spanish on this subject.

Hey Jonathon @ComposaBoi, First congrats on the massive work! I would review the 1st movement first! I feel like you have taken Bee's 9th Symphony as model haha! For me I would enjoy the music to be more in the faster Allegro tempo, given my traditional sense of a Symphony haha. The opening slow section is fine for me and I like your accelerando to the Allegro, but I feel in the Allegro you are not really developing the theme even though you have great voice exchanges and orchestration there, since the same figures are played interchangably. The harmony there is alternating I-V in g minor and I think you can modulate to other keys as well! For the development I absolutely love your buildup to p.28's climax. But I feel like the build up itself is too long, particularly in a slow tempo and quiet dynamic for a long time. Your key changing there is nice, but I would want more tempo and dynamic change there! I love your Allegro Section in p.29 much more than the previous one since I really feel there's development there! And the buildup to climax is very effective. For me personally the ending ends in triumph too early haha. Thx for sharing! Henry

Hey @ComposaBoi! I'm glad you divided your movements into separate files as it facilitates my attempt to review such a gargantuan work. I'll start with movement 2 as it seems to be the most jaunty and scherzo-like. I do have to say that I feel like the orchestration is really missing a piccolo in my opinion. There were some spots where the statements of the theme could have been expanded to a higher range with the inclusion of piccolo instead of just alternating between strings and the winds you already have. I think measures 58 - 61 really could have benefited from the inclusion of piccolo. I think some of the chromatic passages like at 54 - 55 give that particular part of the movement the character of a circus march. Chromaticism like that can be tricky - when used right it can make dark movements more mysterious, or it can make bright music more comical (is that what you were going for?). The retransition from the Adagio back to the Vivace I thought was a bit abrupt. Perhaps, if it were my piece, I would have brought back the F# major ostinato in the strings at the Adagio tempo and then slowly increase the tempo until I got back to Vivace. But overall, I really enjoyed the Adagio part of the movement. Especially when the strings started playing pizzicato it really gave it a Mahlerian dark character. Which is why I thought the retransition back to the jaunty, bright and happy Vivace was so out of place after that. Thanks for sharing! I hope to review some more of the movements later on.

Hi @NicholasG! When I first played this mp3 I turned my head away from the computer for a second and I thought a police officer was somewhere out on the street blowing his whistle at some traffic situation or something LoL! You've got a great idea and thematic content to build the rest of the piece on. Keep going! I would start by writing as many variations on the main theme as I can come up with and using that to develop the piece. But that's coming from someone who has never written a marching show. Thanks for sharing!

Hello artists! I'd be very glad to show you a bit piano piece I did some years ago Of course, any comment or suggestion, you will be welcome