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I listened again, and it seems like if you just removed the very last bar and made a ritardando instead of accelerando in bar 38 it might make it sound more conclusive. Especially since you finally end on an E major chord instead of the E minor that has been the tonic up to that point - it will sound like a Picardy third.

Hello @PeterthePapercomPoser, thanks for your feedback. The ending doesn’t convince me too much either, what do you think that could be done there? I completely agree in the fact that the strings have a horrible sound, I will try to solve that problem in the future About the orden of the instruments, it was originally written for piano and violin, so when I added the cello it appeared there, and I was too lazy to change it.

Hi all! Have posted the second and third movements of this before in the incomplete section; but I've now finished all three movements. (N.B. Bar numbers are continuous throughout the work, and each movement is indicated with a large Roman numeral above the system.) It's for a chamber orchestra concert this Summer. Interested to hear if members think the work sounds well balanced, motivically coherent and complete, and whether the three movements go together?

I don't know how I didn't notice that. 😮 🤣 I think it was just because there was no pause between each movement, I didn't even think to check around the score for movement numbers. Not the typical format that I've seen in the past, I'll admit. But in that case, yes, the movements clearly flow together well enough that I didn't even notice they were movements!

Dude, this sounds very ... hm. Reminds me of the Hobbit Shire in Lord of the Rings or a Hobbit's tale or any other JRR Tolkien story that includes that scene! Very Majestic sounding. I haven't seen your other movements to this, at the time of writing this response to your piece here now, so I can't speak to their overall compatibility. However, in regard to this piece, there's only a couple of things that stood out to me that would potentially make the piece's readability easier. at b.9, adding in a key signature change to Gb Major/Eb minor would help the instrumentalists avoid having to read the accidentals. (i'm sure they'd be fine after a rehearsal or two, but I just recall, when I was a trumpeter, I always preferred to see less accidentals on my sheets! I could comprehend music better, but that's just me.) additionally, at b.34-b.49, changing the meter to 6/8 might also help with legibility. Although, the rhythm notation there is perfectly ok as it is, and wouldn't be too difficult, it would just clean-up the score a bit, by removing those triplet brackets! Other than my tiny knit-picks, I loved listening through this one, thoroughly. Especially some of those Horn statements, and the Oboe! 😮 Made me wanna learn how to play one. I've always loved em', just always been a brass guy 😉

Oooh, I'd love to see that Sextet! I appreciate the time you took to review this piece, and am elated to hear the detailed feedback on my overall construction of the score. It was definitely something of a "love child" of mine. I attempted to portray my personal emotional journey that I had the misfortune to experience a few years ago, of which, I am still coming out of. I'm glad to have been able to translate it onto the pages, in this one. The kindness, and the correction with my use of accidentals, is appreciated. Though, if you haven't already noticed, I have a hard time with comprehension when it comes to what accidentals would be "correct" to use with the context of the mode... However, to play it safe, I've always tried to avoid the double flat & double sharp, because of my time as a musician, regardless of the mode / key signature of any piece I performed, I rarely ever encountered the double flat or double sharp accidental during sight-reading or rehearsal/performance of repertoire. But I'm okay with being corrected on it, since I don't have that training to really 100% comprehend the difference in using double sharp / natural / double flat / flat... I've always figured since, for example, G Natural and F Double Sharp are in-harmonic notes, that it wouldn't matter, in terms of how the piece would be played, ultimately. If you're alright with it, I'd love a lesson in lame-man's terms on how to correctly use accidentals in a given mode 🙂

Microtonal composition is really complex in theory, but when you listen, it honestly has a certain charm to it. The composition itself is elegant, organized and way better than the crappy invention I created on camera a few videos ago! BTW, love the mordents / trills, since this is something I just recently worked on in Music Jotter. It's amazing to me that something as simple as a trill can greatly enhance a piece of music.

Hi @bkho I like this short piece! I think to continue an uninterrupted musical narrative throughout the whole piece you could have the piece, instead of repeating back to the very beginning, repeat to bar 3. Likewise, you could repeat from bar 20 to bar 13 instead of to bar 11 like you have. I think it would really help keep the pacing and melodic narrative going. The melody that starts at bar 52 made me expect a fugato passage, but you took it in another direction. Thanks for sharing!

Hi @Krisp! I love the mostly lydian flavor! It gives it a certain sense of awe and wonder. And your fathers photographs are a perfect foreground to the music. Thanks for sharing!

Hi @Jqh73o! Overall, the piece has some nice chromatic lines and an intriguing melody. I felt like the ending was a bit out of place. It almost made the piece sound like it was unfinished and like you meant to continue to a section in the 6/4 meter (which I'm not really sure the purpose of that metric change right near the end of the piece when it's equivalent to 12/8 anyway). The rendition is a bit grating on the ears. Musescore Studio's Musesounds has solo strings samples that are much better sounding and would give a better impression imo! Also, in chamber music both the solo string instruments would normally be placed above the piano in the score order (although, apparently there's some fervent debate about this very topic on Reddit: Thanks for sharing!

Hi @UncleRed99, I must have said the opening violin melody really touches me! I love your gradual brigtening of the piece by inviting more and more instruments to join to create a great aura for the piece. The piece sounds very broad to me with a lot of space with your accompaniment. The horn melody in b.37 is absolutely amazing, as well as the decreasing of volume after it. I love the dissonance you use so much in the piece which adds much flavour to the music. Starting from section F all the G naturals would be F double sharps since it enters G sharp minor. I love the polyrhythms you use here which makes the texture thicker and fuller! Overall you really have great orchestration skill which portrays the lamentation! I have made a lamentoso myself but it's for String Sextet so it's completely different stuff LoL! Thx for sharing! I love this very much! Henry

Hi @Mooravioli, Given what @UncleRed99 and Peter have said, I almost have nothing to add. I usually don't like microtones at all, but the beginning microtones really make the music more like in the other world! Your use of harp, and also the twirling figure like in b.80 really sounds like ocean waves. I think so too, it sounds vivacious here like the oceanic habitat for me. For me I would hope the piece to last a bit longer! The ending doesn't seem conclusive to me, though it's a magical way to end all of a sudden. Thx for sharing! Henry