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Ok, so to help you understand what I'm trying to say, I've copied and reworked the first 18 or so measures with tonal music theory in mind whilst trying to maintain a baroque aesthetic. Notice in my rework what I have done. This is how I would have done these first 4 bars had I written this piece. I have relabeled the Roman Numerals to better reflect the harmony that you suggested (which was simply i-V65-i). Also notice I have included dynamics at the beginning of the piece, as well as a metronome marking, and I've nixed the solo violin as I felt it was redundant. I have revised the second violins to not interfere as much with the first violins; see how they overlap much less. This provides melodic and harmonic clarity. Look also how the bass line now has the scalular run in melodic minor, which means it includes the leading tone for F-minor, making the tonic feel stronger. I also made the beginning of the 2nd bar in the bass an E-natural to bring about better harmonic clarity (dominant chord in first inversion). Finally, notice how at the ends and starts of each new measure, the lines cadence to each chord with smooth voice leading. This next system had a very nice sequence over the circle of fifths. The biggest changes I have made was to raise the leading tones, which makes the harmony clearer. I have also changed the Roman Numeral analysis, since much of the harmonies you analyzed would actually not be functional. This would simply be labeled as a sequence. The next system felt imbalanced because of the premature resolution. I decided for this example to extend the dominant pedal, and I believe it had a great effect. I also adjusted the harmony to better reflect what you implied, which would be some augmented 6 chord (your analysis said VI and then later, VIb5, however, the functionally since it leads into the dominant, it would be augmented 6. In the second one, there was no flat 5 present, instead the 5 was actually raised, making it a Germain 6 chord. In the future, be sure you understand chord functions.) Here I have continued to adjust the notes to match the harmony you implied. In particular, I found the parallel 4ths to be problematic and changed them to parellel 6ths. Finally, here I felt that the music began to lose momentum, so I simply cut out a few bars. Note the entrance of the soprano has a dynamic marking, and it appears above the music. This is so it doesn't interfere with the lyrics. Also be sure to divide the syllables properly and know that the "____" marks the ends of words being sung over multiple notes, and the "-" only occurs between syllables of the same word. Your usage of both of these is very inconsistent and unclear. And note how I simplified the line to make it slightly easier to read and sing. The rest of the piece has similar issues throughout. In terms of playability, I have already explained that the soprano is too fast and intricate and especially goes too high for this speed. Here is a great chart for vocal part ranges. choral-ranges.pdf Slightly simplifying the melody, especially removing the appoggiatura, should help. As for the violins, you mentioned they may go too high in some areas. They do not, the range is fine. What bothered me were these huge leaps. However, having checked with a violin player, these are actually doable. The changes I've made are obviously free to take what you like and discard what you don't. The important thing to keep in mind is that the music has proper voice leading, and clear harmony. My revision does improve it, but there are other ways to improve it besides what I did. Just remember to study voice-leading and harmonic function more in depth, and you'll be golden OVosOmnesReworkAndAnalysis.mp3

Pacoleo - El Castillo de La Asomada Hello. This is the first original piece I’ve composed for piano. I also mixed and mastered it myself in my DAW, so any constructive feedback regarding the composition or the music production is welcome. Synopsis: A composition for solo piano inspired by the castle of the same name, built in the 12th century. This nationalist-style piece reflects the strength and vigor of its builder (Ibn Mardanish, “the Wolf King”) by combining elements of Spanish nationalism and Islamic tradition, which are in turn embellished by impressionistic coloristic techniques. Thank you for listening.

This piece confuses me... Why are there 3 violin parts and not just 2? 2 violin sections, 1 viola section, 1 cello section, and 1 bass section is the norm. Writing for nonstandard ensembles is fine, but using a standard ensemble, in this case string orchestra, but with minor ordering differences just 1. makes it look like you don't know what you're doing (and you demonstrably don't) and 2. makes it significantly harder to have your piece performed. Who's going to have a string orchestra with 3 violin sections? No one. Why are there numbers all over the page? Roman numeral analysis is for... well, analysis. You don't include it in a score, and the other numbers I guess might be for figured bass, but that's not how you do that? Learn how to do something before doing it is generally a good rule of thumb. The instruments are not written for idiomatically. Those leaps in the violin in the middle of the piece are way too big. The soprano part is also WAY too hard, even for a professional soloist. It has super technical and absurdly fast extended passages in the very high range. If you gave this to a soprano, she'd would absolutely refuse to do it. Some of the harmonic choices are also odd. You seem to be wanting to do an imitation of a renaissance style, but it's just not achieved very well. It lacks the right harmonic language. I'd expect more raised leading tones, piccardy 3rds, etc etc. There are people on here that are much more familiar with this style that may be able to provide more specific feedback, but it sounds very messy to me, not elegant like the music of the time. Finally, the music doesn't match the text at all. The text is beautiful, solemn, contemplative, and the music just isn't. Why? I sing gregorian chant for a TLM parish, I'm very familiar with motets and liturgucal/sacred music, and this just isn't something I would choose to include at mass. I wouldn't even include it in a secular program. It's just not that well put together or though out. I would take more time to study the ensembles and instruments you write for, including vocal ranges. Also look into studying counterpoint, doing species counterpoint exercises, and harmony of the period. Studying galant schemas might also be beneficial for you. And most importantly, study scores! If you don't know how to notate something, reference a (modern print) score. Clearly you are amateur and young (young composers, haha) so don't worry. You will improve, probably quickly, but you need to spend more time studying theory and practicing with study pieces and exercises.

I present to you my next cantata - "Laudate, pueri" (Ps 112) for tenor, flute and basso continuo consisting of 6 parts. It's rather short and for small ensemble, but it has a chance to be played in real life - until then computer playback will be added. It's meant to lighter than my previous cantata, with more concertante technique used... The first part is a dialog between two soloist, the second (and fifth) is tarantella-like with basso ostinato. Third and fourth i wrote what I had on my mind XD. Fifth is fugue (or fugato to be exact i think) with soloist doubling the theme entries. Any tips and feedback welcomed! Laudate, pueri.pdfLaudate, pueri.mp3

Hi @islav , compositions such as yours is one of the reasons why I am keen to be part of a platform like youngcomposers: your work is really novel and inspiring. I didn't like everything, otherwise the many changes of rhythm in the melody, as well as the many strange and unexpected dissonances make your piece very coherent. Things I didn't quite like (really personal taste): bars 7-9 were too mellow for me I felt like the end was too abrupt, and didn't really go well with the piece I felt like the trill was used a little too often (e.g.: bbs 58, 67, 69...) Things I particular liked: the transitions in bar 20, bar 39 or bar 53, really surprising and somehow relaxing the rhythm pattern you regularly use, e.g.: in bbs 43-45 Thanks for sharing and continue the good work! Julien

Hello my dear friends , This Allegretto is a heartfelt tribute to my beloved Franz Schubert, whose music has been a constant source of inspiration and admiration. Through its lyrical character, harmonic colours, and contrasting moods, this piece reflects my deep affection for Schubert’s musical world and the profound sensitivity that makes his music so timeless. Though written in my own hand, it is offered with gratitude and love to a composer whose music continues to speak directly to the soul.

I don't really have composition knowledge or experience I do like fugues a lot and have learned the first two from WTC 1 on piano. This is incomplete I am wondering what we think so far B Majuh.pdf B Majuh.mp3

Nice piece again, my friend - sounds gentle and beautiful as always! I also love Schubert and you said your favorite is D959, right? That is awesome and a masterpiece. My favorite personally is Piano Sonata No. 21; with that first section, I immediately get immersed into his beautiful world. I recently thought about you - if you made a slightly different style, what would it sound like, like Gymnopédie, or an atonal one... I'm sure that you definitely have a beautiful musical soul and are also expressing it in a wonderful way. Thank you for sharing this piece, have a good day 😊 You are the YC legendary composer! Best, Lithl.

Hello, Listened to it twice. It's a fantastically beautiful piece. The left hand got a bit muddy at times, maybe it's just an audio preference thing. The RH is very sparkling and you seem to have a nice mixture of romantic/almost jazzy/impressionistic harmonies going on to my ears. There were moments where it felt like it was going too long. But it's just so darn sparkly and emotive, I had to keep listening. I'm probably a sucker for these sorts of pieces. Subjectively, I felt something in my heart when I listened to your music. The music itself seems a bit transient though. After it's all said and done, I'm left with a pleasant feeling, but there is nothing that is too memorable that remains. Whether that is a good or bad thing (or even something that most people might experience), I will leave that up to you to decide!

https://www.carolynmillsharp.com/resources/Writing%20For%20The%20Harp.pdf https://www.harpinsideout.com/composing-for-the-harp?currency=EUR

I have things that were started and put in the drawer 15 years ago that I still plan to get back to. We are fortunate to have so much more time (probably) than composers of the past, thanks to progress in medicine and public health. Eat your broccoli, take your time, and with luck we all may eventually have a few pieces that we are really proud of.

I YT search your Professor's name and find this one: A wonderfully contemplative piece! Not that atonal to me haha. Henry

Haha, indeed, we are influenced by what we listen, we all are... Nevertheless, I would definitely encourage you to continue the journey, and exercise your composer skills on this work you started, by introducing some melodic phrases. My (limited) experience in composing clearly shows that the journey is hard, but really fascinating.

Wow... Thank you very much. I had this "theme/figure" in my head for so long and it felt familiar, but I didn't know where did it come from, so I thought it's mine :D. Now I know, so I think there is no need to reinvent the wheel (especially by Bach), so I better leave this theme to Him, cause he just does it better :) It's really interesting how we can subconsiously "compose" something already made

@Henry Ng Tsz Kiu, your composing story is lovely - I feel your deep care for your compositions, I can say that taking such a long time to compose certainly paid off :) Well, as of yet, I've never taken time to compose over one week and a half per work. The reason is that if I take a lot of time, I can't complete them, or rather, I move on to another project. Taking a lot of time for composing brings about failure. It turns out recently that my composing style is like "on the spot of imagination", I mean composing if I have a clear vision. This style enables me to create pieces without losing my passion and complete them. Oh, if you consider mixing as compositional time, it would be more than that time because I usually revise mixing after I make a track. Good and curious topic, Grant, thank you. Best, Lithl.

Hi, thanks for listening and commenting. Well, I’ve actually finished the project now. For one thing, I currently prefer to compose short pieces that express exactly what I want and nothing more; I’m not interested in writing extended works or anything like that. It’s just a personal preference right now. The Cantai app has evolved a lot during this time. They introduced what you mentioned: choral masses. And also other languages (Latin, English, and Spanish for Dorico). Although I had to uninstall the update and reinstall the previous version because the new version wouldn’t let me mix English and Latin. Once I finished this project, I installed the latest versions. In the end, there were about seven pieces: prelude, introit, Kyrie/Tuba Mirum, Lacrimosa, Sacrifice, Sanctus, and Libera Me. The texts are taken from classical Latin and all those Romantic poets, Joni Mitchell, and a poem by a dear friend.

Thank you Lithl! They are all good :)

Hey Tunndy, Some feedback: I like the beginning: the rhythm, the darkness, really cool! Bars [7-10], really not my favourite section. I like the change of tone bar 28. I agree with Tristan that having forte everywhere would deserve a bit of nuance... In general, in enjoyed it, thanks for sharing! Julien

Now, it's a time to help someone who wants to discover music - since I was helped by YC members a lot :) I have some examples that would be up your alley. Ludovico Einaudi: Moments of Peace Nils Frahm: Felt Ólafur Arnalds: Trance Frendz Hope this post helps you, have a wonderful musical journey and welcome to YC! Best, Lithl.

My dear friend, thank you so much for your beautiful and thoughtful words! It always makes me happy to know that my music reaches you in such a way. And yes, Schubert’s D.959 is indeed one of my absolute favourites, although I find it almost impossible to choose just one work of his. His music possesses a depth, tenderness and humanity that I have rarely encountered elsewhere. His last three piano sonatas are, to me, among the greatest treasures in the entire piano repertoire. I found your question about exploring a different style particularly interesting. I have occasionally wondered what my musical language might sound like outside the Classical and Romantic world that I love so deeply. Perhaps something more impressionistic, in the spirit of Satie’s Gymnopédies, would be an interesting experiment. Atonal music, however, would probably take me much further away from my natural musical instincts! Harmony, melody and a certain sense of tonal warmth are very much at the heart of how I think and feel about music. Still, one never knows where inspiration might lead. And thank you for calling me the legendary composer of YC! Haha! That is far too kind of you, my friend, but I truly appreciate your friendship and encouragement. It means a great deal to me. Warmest wishes, and have a wonderful day! 😊

HELLO Let me just say that if you have no experience in composition, you’ve got a long way to go before you can compose a proper fugue. I get the impression you must have some knowledge of counterpoint. But before you start composing fugues, you need to master other, less demanding areas of strict counterpoint. It’s simply not possible to come up with a logically structured composition just by studying two of Bach’s fugues and leaving it at that. What you’ve written doesn’t sound bad, but, in my opinion, there’s a point (which I think is the one mentioned by @Lithl ) where everything falls apart quite a bit, and that’s in bar 6. Because you’re forming a D#–A tritone which, although the intention is for some of these to be passing notes, I think that should resolve into a Bb chord. Enharmonically, you have Eb–A, a tritone which, in this context, must resolve in this way. The solution you’ve suggested for another context is fine, but here, at least for me, it ruins the whole thing.

Hello @electricporridge27! Wow, is that really an improvisation? Please tell me it isn't... This sounds amazing; you have incredible piano sense and wonderful ideas. It's such a pleasure to listen to. Sometimes, people appear in this forum who discourage me with their sheer talent, as if saying, "Hello, when are you going to quit music?"—well, not literally, but you know what I mean, haha. It's truly at that high of a level. I'd love to listen to your non-improvised pieces, too. Thank you for sharing and welcome here :) Best, Lithl.

Hi, @draingxngceo! This is short, but personally, I think it doesn't sound bad - not gonna lie, so far so good: it depends on how it develops from here, but it will sound good I guess. As of now, it’s difficult to get a glimpse of the overall characteristics of this piece—the last part feels a bit awkward. I'm not sure, but I feel like in this piece, you might be focusing too much on using a fugue, prioritizing it over the clarity of the motif or the subtlety of the development. Look at Bach's works, for example—while they are fugues, in many of them, the musical character of the piece seems to stand out more than the fugue structure itself. Anyway, since you mentioned it's incomplete, I’m looking forward to seeing how you develop it from here. When it's finished, please be sure to post it in this forum! You'll be able to get more detailed feedback from knowledgeable people, maybe. I don't know music theory, so I can't offer any specific ideas (sorry), but I'm sharing this piece with you because you love fugues!😁 Also, welcome to the forum, let's enjoy this forum together :) Best, Lithl.

Not sure if this one is the best, but it is certainly my favorite one.

Probably, this is my favorite one.

sorry to necro a dead thread, but I was just checking my socials when I remembered this post! I actually just had this piece recorded by the principal strings at the Bolshoi Theatre, believe it or not!! They're definitely worthy musicians lol, so here's a link in case you're interested: https://youtu.be/SIrKsoVDBKU

Do you have a favorite source of information that describes writing for harp? I know absolutely nothing about how this instrument works other than what I've seen in concerts.

Hey Luis, Thanks so much for the link. That's very informative and at. a level I can understand. :)

Hello, I am looking for more contemporary piano music with the following keywords: peaceful, pensive, sensitive, emotional yet simple. For example: August HIrv Jane Avril Akira Kosemura

Here are a few more that might fit the bill: Joep Beving Otto Totland Hania Rani Joe Hisaishi (The piano version of his pieces) DeLange Sofiane Pamart Dmitry Evgrafov

What's your favorite album ever? If there are several, list as many as you like.

Blurryface by Twenty One Pilots Thanks for the Memory - An Album from the "Great American Songbook" by Rod Stewart (a lot of cool really old songs on this one) Both of these albums really helped me get through a tough time while I was in the mental hospital - I listened to them almost everyday since someone just happened to download them onto the public computer (which wasn't connected to the internet at the time).

To me, this is always a masterpiece of film music.

It's been a while since I've composed anything, so I felt like getting back into doing some Persichetti composition prompts. I am now on Chapter 8 of Persichetti's "20th Century Harmony" which is titled "Compound and Mirror Harmony". The particular prompt for this piano piece was "8. Write an opening section of a two-part piece for the piano employing two symmetrically invertible scales. The mirror writing should be kept strict throughout." So I tried to do just that with this ~1 minute long piano piece. I tried my best to make an actual piece of music rather than an exercise, but let me know how I did! I'd appreciate any of your comments, critiques, suggestions or observations! Thanks for listening! Here's the form of the piece: A - Right Hand - C Mixolydian, Left Hand - C Aeolian B - Right Hand - C Ionian, Left Hand - C Phrygian A Persichetti Exercise 8 - 8.mp3 Persichetti Exercise 8 - 8 Score.pdf

Truly one of the most stylish pieces I have ever heard. It is so bold and unusual, yet at the same time incredibly stylish and unique. I genuinely loved it. Bravo, my dear friend!

Hello, yet again with another prelude... GAWL aren't you sick of them yet?? Anyway, this one flirts between Db and C#m. It's 6 pages, but not that long as far as measures. It's grandiose, yet soft and subtle. Unfortunately, the midi doesn't do it justice. The arpeggio measures don't hold the first chord/low note in each one, but hopefully the score paints the right picture. I think it's due to the amount of notes held with the sustain. I hope you enjoy this, and any comments or concerns are welcome. :) Prelude 18 - Db.mp3 Prelude 18 - Db - score - Full Score.pdf

Hello. This is my first post here, presenting hopefully the first of many sacred solo motets and religious pieceso vos omnes sheets.pdf. I am very inspired by the italian masters Antonio VIvaldi and Federico Maria Sardelli. This is a sacred solo motet for soprano, strings, and continuo based on the Latin Vulgate translation of Lamentations 1:12. I really wanted to capture the raw and shocking horror of the suffering and death of Christ, the Son of God for the sins of men. The same shock that Dell'Arca captured so masterfully in his statues of the Lamentation for the death of Christ. Hopefully my work has served that well too. O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus. Atténdite, univérsi pópuli, et vidéte dolórem méum. Si est dólor símilis sícut dólor méus. English Translation: O all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow. Pay attention, all people, and look at my sorrow: if there be any sorrow like my sorrow. O vos omnes- M.M..mp3

Firstly I appreciate greatly the feedback given. It was not intended for there to be 3 violin sections but rather 2, with Violin 1 being a soloist which is evidenced I believe with the middle section where it is labeled solo. Perhaps I should have written Violino Principale for greater clarity. You correct on the roman numeral usage which I had to track where I was harmonically. I am aware that isn't included in a final score. I realize my compositions with vsts and seeing that I had not yet included a keyboard accompaniment I decided on "cleaning it up". I also thought it would better help with any feedback or critiques to show more openly my thought process. The other numbers are not figured bass. They are merely scale degrees which like the roman numerals helped me track my harmony/motifs. As for the rest you may be very well correct. I did hope the bass line at least is written idomantically or certain antiphonal elements in the violins. I will agree that my violins may have reached too high in some areas. And for the vocals I may have leaned to heavily into a violinistic approach. The harmonic langauge was not an attempt to imitate the renaissance style. Simply what I have observed from Vivaldi's and Sardelli's violin concertos and vocal works. As for the text I explained my intentions/desired effect in the description of the post. I understand the main presentation for this text and would agree my approach would likely not fill well in a mass setting. Perhaps it is far too extreme but I did wish to lean into a more operatic approach and my background is mainly with vocal synths(Vocaloid, Synth V) so my ear may be too accustomed to harsher music.

Hi @Josquins turban , I tend to agree with MK, it's a little too repetitive, even if the patterns you chose, and the harmonic progressions are nice. It somehow reminded me of Prelude No.6 by Bach - BWV 875 --> if you don't know the piece, check it out, it's interesting how much variety of rhythms and melodic materials he can use. This can definitely give you some hints. If I had to elaborate on your work, I would typically introduce some slower melodic material in bars 4, 12... before returning to your transition material (yes, I think that's my feeling, you have good transition material, but I don't feel there is a theme sticking out...) Thanks for sharing and do share the evolutions, I'm keen to see how you've decided to make it evolve! Julien

This and the following movements all toke a good 2 2/1 years to write

This is so good. I'm sure that you have a wonderful musical nature - the reason I think so is clear: this piece has so many musical factors and combines them with a progressive rock style avant-garde element very well. Probably the reason you didn't get feedback is that this piece covers a controversial topic, I guess. Also, a nice picture. I prefer the second one from the top: for the others, I know what you are trying to do, but the surrounding elements do not highlight the rabbit in the center. If you upload the second image to YouTube, it would likely draw people in. By the way, I want to ask you, how did you make the drums? Is that a VST, or did you play them yourself? Well, overall, this sounds amazing. Again, I admire your musical creativity. Some parts of this piece have a beautiful tune yet with chaotic noises. At any rate, we can enjoy plenty of wonderful melodies and developments. Keep up the great work!! Best, Lithl.

This is a very interesting idea for a project and something I think many choirs would be interested in performing! Was there a reason you particularly wanted to restrict yourself to "calm, short pieces?" I'm curious what other texts you are thinking of incorporating; these first two are certainly a good start! It's a shame that Cantai doesn't give the vocals a more monumental sound, but it's still helpful for a sense of how everything goes together. I particularly like the little harp arpeggios for their sense of wonder. I'm not sure you need to specify the number of choral singers on the first page of the score. Instruments are good at being loud, so choirs that work with orchestra are good at maintaining membership big enough to balance orchestral forces. And the choral singers generally aren't paid, only instrumentalists and vocal soloists, even with major orchestras. So usually the paid orchestral parts are the only ones given a number of players needed. Nice!

Hello, They sound real nice. Sort of feels improvisational, reminds me of something that I might hear in an indie movie or something. Felt a bit cheesy at times, but not in like a bad way, you know? Good cheese.

This is a quite small and simple pavane i made some time ago listen to Pierre Phalesè pieces, i hope you guys enjoy it, i might compose a galliard to accompany but i'm not sure yet! by the way, the instruments are not bound by their physical limitations, in this case, this shawm consort can't reach some notes i wrote. The reason why is because it's the soundfont that fit best for this piece. LOB 126 Padovana Antiqua.mp3

Hi, welcome to the Forum! Not only as a composer, but as a harpsichordist, I find that there is too much of the same for too long. Essentially, a lot of repetition and not enough imitation/ independence. However, before I go on to elaborate, was it your intention to imitate baroque style?

The allegro below was an earlier movement for a wind quartet (back in 2019) that now contains lots of revisions. At the time, I thought it was 'perfect' but almost 10 years later, evidently it was not! 😬 Second movement recycled from another standalone piece I had made for wind quintet originally. The Rondo is a work in progress. Currently working on the C section (minor). I quite like the theme... think it is catchy. String Quartet in C (Allegro).mp3 String Quartet in C (Second Movement).mp3 String Quartet in C (Rondo Idea).mp3 String Quartet in C (Allegro).pdf String Quartet in C (Second Movement).pdf String Quartet in C (Rondo Idea).pdf

Hello all! This is a piece I wrote for college. The first movement was performed, and I was supposed to have the rest performed before the end of the month, but unfortunately, the ensemble that would have played it got too busy. The piece is kind of in a similar vein as my first large scale work, the Seven Sorrow; a program piece based on a traditional Catholic devotion. The difference is, while no other composer had written a piece on the seven sorrows, there are composers who have written pieces about the stations of the cross (Liszt's "Via Crucis" comes to mind), though I approached it quite differently, I think. Rather than a movement for each station, I made it a 3-movement brass quintet where each movement represents several stations. The first 5 stations in movement 1, the next 4 in movement 2, and the final 5 in the finale. The stations are shown both in the score and in the video with pictures. The Stations of the Cross for Brass Quintet - YouTube Stations of the Cross.mp3 Stations_of_the_Cross_Full.pdf

I first encountered this work by Pärt as a teenager through a music teacher. The purist in me for tonal & well balanced music would usually have me running for the hills from this thing; yet I am captivated by it for the mad comedy Pärt produces here. I consider it a kind of trolling of epic proportions and he no doubt had much fun writing it. It is also fascinating to read the score alongside the music to see how the sheer chaos is actually written. At face value it seems much of the chaos is somewhat improvised with a little guidance. It is definitely art; but this kind of art doesn't usually undergo repeat performances!