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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.

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.

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

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

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.

Thank you very much – and, haha, I do not recognize the dissonances that much. But good to know that I’m just far enough away from „simple harmonies“, so that I must not exaggerate with dissonances much more! That’s nice to hear. At first, I wanted to develop the fugato further to a usual climax and ending. But, since its flow had already been „disrupted“ twice by the second and third stanzas of the poem, I decided to conclude the piece with a recapitulation of the opening „improvisation“, to finally come home to the key of Bb major. I was not sure about that decision, since that recap has a much more melancholic mood than one would expect for the task to depict a bright summer day. So I really appreciate that you – and some others – enjoyed that particular section. Yes, this kind of “orchestra” is indeed a bit weird (or “diverse”, as you politely called it). I use the YCF competitions to experiment with instrumentation while orchestrating my pieces, which I usually compose (initially) for solo piano. And since the competition rules limit the amount of instruments or players to five, I had to figure out how to achieve the greatest possible variety of colors: I needed a melody instrument and a substitute for the human voice, so I used the trumpet both with and without a mute. The cello and guitar provide the “orchestra” with the bass and rhythmic foundation. The piano remains as an accompanying instrument, but being paired with the accordion, which—in my opinion—is the most important instrument for the piece to produce a somewhat „French“ mood. Thank you, that is a great compliment for me and proves that I was not as wrong with the „weird“ accordion idea! Fortunately, yes—I won third prize in that competition.

Wow that sounds really great and the intro seems so familiar but the main tune so unique.

A really enjoyable piece, Alexx. It all flows smoothly from one section to the next. There’s good balance between the parts and good sound production. I especially like your phrasing. I think waltzes can be kind of stagnant if the phrases adhere to the 1, 2, 3 beats to much, but you seemed to have broken the phrases up just enough to give it all a nice forward momentum. Really good listening to this.

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

I would heavily recommend starting with an introductory textbook on harmony, such as this one by the ABRSM which you can view for free. The counterpoint you're interested in (18th-century counterpoint) is essentially the usage and adaptation of (16th century) contrapuntal techniques in the context of harmony, so detailed knowledge of the latter is absolutely essential.

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.

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! 😊

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.

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.

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

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

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

Hello. It's been a while since i last posted here. Today I am back with a new piano sketch. Hope to get some good honest constructive critique on this work in progress. Thanks :) The Day Tomorrow Died draft2 wip - Bjarke Tan - Flow 1.mp3 The day tomorrow died revision 1.9 score.pdf

Here's a little something I cooked up this week. I was aiming to weave interesting harmonies from the interactions between the voices. It doesn't have a title yet: so any ideas welcome. Do you think it's too repetitive? Or maybe needs more counterpoint? I could extend it with a contrasting middle section perhaps? I'm not done with the notation yet: so lots of missing slurs. In terms of production, I wonder if the quiet section needs to be boosted further? Full orchestra improv #12 (with ZL compressor).mp3Full orchestra improv #12 (with ZL compressor).mp3All thoughts welcome. Full orchestra improv #12 (with ZL compressor).mp3 Full orchestra improv #12 (with ZL compressor).pdf

Nice work, I’m doing this on my phone on the way back from a performance so I can’t really do much in depth at the moment, But there are some nice moments in the music with the winds and the ambient pacing. I would put more things to add texture if I were you though

Hello, second post on this forum. I would like to share with you my new piano collection called Feminine Fragments. Any feedback and suggestion is well accepted. For the score on video visit my YT page on the link below, aswell if you're curious about my other composition. Thank you! Click here Feminine Fragments.mp3 Feminine Fragments.pdf

Hi @Filippo Noti , Long work you've done there! The sheer length must have put off some listeners ;-). It's extremely diverse, moving from one style to another. Some movements I liked (e.g.: parts 4 and 5), others less. In general, I found too many repetitions. Here is some detailed feedback (don't know if you were looking for some, but I think that's the idea of the forum in general, so here goes): Part 1: In general, very chill music, very relaxing. I felt as though I was in an art museum. Some more precise feedback you might find useful (based on my personal impressions of course): * I felt the introductory material, that leads to the more interesting mm. 11-13, was a tad too long (I typically found mm. 3, 7, 9 superfluous) * In m. 17, my brain was expecting for a change in the first notes of the melody, sth different from the usual G, C, E * in mm. 21-47 * this too, I felt, was a little too repetitive * funny writing though, I guess the eighth notes must be played with the left hand? * mm. 49-56, the idea to reuse the main theme is a good one, with richer chords. Some of them could probably be improved, e.g.: in m. 49, I liked the first 2 chords, but not so much the 3rd one - maybe a G7? Same for the next measures where you repeat the 2nd chord. * the very last chord, I found out of character, not in the "mood" of your composition (probably a bit too "brutal") Part 2: * mm. 60-68: soft, mellow part (a little too mellow to my taste), with some interesting rythmic textures * m. 69-71: quite a surprising change, I liked that part, especially the arrival of the 3rd voice, well done! I would encourage you to build on that! Part 3: not a great fan overall, I felt it lacked of some passion: it felt a bit like an exercise Part 4: really a funny part! * I liked the little variations in the accompaniement (e.g.: m. 102, 105, * m. 125: I liked the transition * interesting chords in the treble in mm. 131-142 * mm. 143-150, I found quite repetitive and aggressive * brilliant end in mm. 167-169 Part 5: a nice fugue, very baroque, I liked it! Part 6: * what a contrast, we're moving from baroque to Satie-like music! * Although I liked the atmosphere, I found most chords too dissonent (maybe this was the intention). Some were very nice though, e.g.: 202, 204, 207 * I liked the use of the 3rd voice Part 7: the idea is good, sounds like a very good basis for a song, I would have developped the idea a little more (didn't really see the point of m. 249) Thanks for sharing, and looking forward to hearing more of your compositions! Take care, Julien

This is my piano miniature. In this music, I wanted to capture the image of a doll or a figurine: a cold, lifeless kind of beauty... But is it really lifeless? =)

Not much to say, I just wanted to show my work and see if other have a word about it. I felt like it was a bit overextended after measure 78, I'm not sure what should I do with it as shortening it will make it sound wrong and not right. C1.mp3 C1.pdf

I enjoyed listening to this. I’m far from the best person to analyze other people’s music, but here are some thoughts on what I heard. First, I think you should just call this f minor and write it as such. Phrygian dominant would have a g flat, I believe. (But I haven’t worked with modes in years and you might have a different reason for not putting this is f minor.) Add accidentals for the natural minor as needed. It will still give the sound you are looking for and make it much easier for a piano player to read. Also, is that a tie on the top note of each pair of notes on beats 2 and 3? It doesn’t sound like it is in the recording. I think they are not necessary and I found them distracting when playing through the piece. I like the themes. They are pleasing to the ear, at least to mine. There could probably be a little more variety. Measures 13-14 do reverse the direction of the tune, but it’s still rhythmically the same, and I wonder if that is giving enough sense of “new material”. Also, it’s in the same key. (This is a problem I have writing music — trying to keep things familiar but not beating any dead horses). How about putting something in a related key, maybe a major or try reversing measures 13 and 14, so you would have the new phrase start with three quarter notes. How about putting in some theme that has wider intervals. You have mostly step-wise motion the whole way through with the exception of a few jumps in the octave section. I think measure 39 and following have the more successful new material. Good variety but the key is still intact, so it’s provides some connection (again, for my ears, can’t speak for others). Maybe don’t use repeats for measures 63 / E section. The listeners’ ears will be well-familiar with the ideas by that point. Finally, I vote for an authentic cadence to at the end. It sounds unfinished. Like I said, just some thoughts I had.

Hello @InstrumentalistElle, I still remember your masterful string quartet, which depicts rocks or mountains surrounded by clouds. And since it features many “extended” string techniques involving harmonics and flageolets, I considered it to be a great composition example, but having rare chances to be ever performed live. Now, with this magnificent live performance, you’ve proven me wrong! Congratulations—for a composer, having one’s own pieces performed live is an incomparable reward, far greater even than winning a prize at a composers’ forum competition! How did you achieve that connection with such an outstanding ensemble? If you could tell me, I might even try to compose a string quartet (end of joke). 😀

Thank you all for the kind feedback. I’m glad you enjoyed the piece, and I appreciate you taking the time to listen and comment.

Hi YC members, hope everything is going well with you. Today, I got the idea to start this topic: the best pieces you have listened to in 2026 so far. I don't mean you have to only mention pieces released in 2026 — but the best pieces you have listened to in 2026 as of now. I'd like to share: Jon Appleton's "Homage To Orpheus". Makoto Ueno "Preludes, Livre 2, CD 131: No. 10, Canope". Also, this piece as well: Ben Nobuto's "Hope Spiral". My friend @CrystalCanon told me about him, and I immediately fell in love — please check him out! Thanks, CrystalCanon! Well, I actually have many more pieces, but that's all for now. Next, it's your turn — what are yours!?

Its called 'cave tune' and the theme is like very odd and eratic.Mind i recorded it with an audio recorder app so ot may not be the best in quality.A cave tune finished.mp3

Amazing recording. Enjoyed it. And congratulations

How would you recommend I go about learning counterpoint? I would like to study counterpoint further it is true that I have a little base knowledge but not much.

I agree with the others that this is a little repetitive, even for a short piece. 12 of the 21 bars are the arpeggio figure with mordent and a lot of those are pairs of arpeggios in the same key. You changed up the keys a little later, which helps, but that still a lot of repetition. How about continuing new material from 3 into 4 rather than going back to the figure of m. 1 and 2? Extending the new material through m. 4 would give interest before returning to d minor. Since this is a baroque-style piece, I think a D octave in the bass of m. 10 is required. My ear at least felt its absence.

Very high degree of Spanish influences, shifting rhythmic syncopation and time signatures and Phrygian mode. You clearly know what you're doing. This is a very pianistic piece, despite never having written for piano before. All of the chords and embellishments fall easily under the hand, and you're careful to give time for the performer to breathe. I'm still quite an amateur in terms of compositional technique, but I would say as a pianist this is a very fine start to writing for piano. I would recommend exploring the instrument's capabilities a little bit more in order to balance out the edge. You could, for example, have added some of the lower bass notes in the left hand accompaniment for bars 23 - 24. Since they're so low and resonate for a significantly longer time, they give a much richer, ringing tone quality to your staccatos. Not to mention, it helps to activate the resonators in the piano, leading to a much richer tone in general, and it lends to a much more powerful and dramatic effect. However, this is still a very well thought out composition.

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.

Reserve the tail and fit the musical section on its own. At a new tempo the notes move but the reverb decay stays the same length in seconds, so a ratio taken from the whole file comes out wrong. The sum is tempo = beats x 60 / seconds. Say the cue is 48 bars of 4/4 at 128 BPM, exactly 90 seconds with no room for a tail. Keep 3 seconds for the decay and you need 192 beats in 87 seconds, so 132.4 BPM, about 3.4 percent faster. A plug-in's decay time is the time to fall 60 dB, so reserving that much is safe. Re-rendered from MIDI, 2 or 3 percent rarely gets noticed. Much past 5 percent the cue starts to sound rushed, and I'd rather cut a bar, shorten the last chord or end on a hit. I'd only stretch rendered audio if the project is gone, and only slightly. I made a free calculator on my site whose fit-to-duration box does this sum and gives the tempo for a whole number of bars: https://modwheel.net/tools/tempo-calculator

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

What version of Sibelius are you using? I'm using Musescore 3.7 Evo and for me it's just a simple "small" checkbox 😬. Last time I used Sibelius was 10 years ago or so. Can relate to this. Happened in some sonata of mine, I just don't remember on which one lol. Best regards!

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 @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

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.

Greetings! This is the recorder consort version of the before mentioned madrigal, the reason why i instead am posting the recorder version and not the vocal version is because i have to use an AI to render my madrigals and vocal pieces, and sometimes it doesn't sound good, so that's why i choose to post the recorder consort version, enjoy!.LOB 133 O cruel fate!.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?

A lot of overlapping perfects. I see you tried to imitate birds and animals. I see you have done it in a creative way, so I gave you a 10. Overall, it isn't very bad. Did you check out these? or piano I was expecting this type.