Leaderboard

Wow! Some surprisingly good counterpoint, though it's difficult to see how it will all fit together without the text underlay. Consciously or not, you've taken a cue from Niccolo Jommelli (1714-1774) in scoring your Requiem for voices and strings alone...his Requiem (1756) was the most popular and often requested of its day, until Mozart wrote his in 1791. The sparing orchestration makes it more likely to get played. I agree with ComposaBoi on just about everything he said. Measure 11: The tenor part goes dangerously low, down to B below tenor C; consider a D instead if it won't mess up your counterpoint. Measure 17: Awkward for Violin I - the C on beat 3-1/2 is icky to try to reach down to there, it means shifting a third down the fingerboard for one note, then shifting back up again; consider the G above instead. Measure 31: Odd ending, it seems to me. There is no third in the chord, and while that's not without precedent, I don't feel like it works here. Consider an E-flat as the final note in the Soprano and Violin I. Show us more of this as you have it! Well done!

The counterpoint is very impressive, so well done! I would have liked to see how the lyrics align with the notes, but I'm not sure if note flight is capable of that. I would definitely recommend musescore if you can fit it on your computer. It is free after all. The main issue is how you're writing for your forces. Violin octaves are a little unreasonable for a tutti section. It's too difficult without a good justification. I would either NOT have the octaves, or have the violins divisi. And the voice ranges are going into risky registers. There's a good short guide "ranges for choral singers: a guide for composers" by Chris Hutchings that's literally just a page and tells you pretty much all you need for writing for choral voices. You can probably find it online.

Hello folks! Been a little bit (always is a little bit between when I talk on here it seems) I've been hard at work at college writing all sorts of stuff, but amid all the music I'm writing and playing for school, I've also been working on a personal piece for solo piano. Dedicated to someone I love very much, the piece is an exploration of love. Movement 1 is the only movement written so far, and it is about passionate love (maybe I'll call it Eros. Still figuring out names or if I even want names for the movements.) I'll explain the movement's structure so you can maybe understand what I'm trying to do. Intro: It starts floating on an A dominant 7 chord, overtop of which soars a delicate but sometimes dissonant melody with huge leaps. It remains in this uncertain space a little while. Then it bursts into arpeggios and a fanfare-like triplet motif in F Major, gradually building more and more, before collapsing into the exposition. Exposition: The first theme in F minor is fiery and built from two motifs, the passionate right hand and the rumbling left hand. Cadencing in the relative major, the motifs then set off to transition to the next area. The second theme is in the distant key of D major and is a beautiful transformation of the melody from the introduction. A recurring turn motif brings the melody to its PAC and the closing theme commences with triumphant arpeggios (you will hear the inspiration from Chopin Ballade no. 4) but is suddenly overturned by D minor with the rumbling left hand motif of the first theme, ending the exposition dramatically in Bb Major!! Unlike I think literally all of my other sonata form pieces, there is no exposition repeat before the development. Development: In the soundscape of the exposition's closing chord, the developed introductory melody quietly emerges, again unsure, interwoven with fragments of the first theme. Eventually the second theme's rumbling motif takes hold, and a series of violent sequences commences. At its climax, it collapses again in a whirlwind. Out of the bleak, emerges now the second theme, in a hopeful manner, modulating from Ab Major to E minor, and finally culminating in the most passionate and beautiful variation in G Major, with repeated chords and heavy rubato. It reaches its turn motif and PACs in G Major erupting into the closing theme arpeggios, but now being derailed again, even earlier than last time into C minor! And now we're at the Fugue, based on the same rumbling left hand motif that's been so persistent in the development. After reaching its peak, it sequences a little more and is now in C Major and has successfully set up the dominant retransition to the tonic F minor! Recapitulation: First theme is mostly the same as before. The transition is however different and more "bravura" than before. The second theme tragically is now in F minor, and doesn't get its old turn motif to cadence, and instead prepares to close the movement in the drama of the first theme. But it's diverged! We move away from that extreme low register now into the highest register as we hear one last time the full second theme in F Major, much barer and more suspended, but again with its cadence motif. But it doesn't finish quite yet. It repeats the motif, before slipping back into an A dominant 7 chord for the coda. Coda: Largely an exact repeat of the introduction, but what was before a solid dominant pedal, is now broken up by the tonic in the bass, giving a more resolved sound. With no more burst into F major, the movement closes on low D Major chords. Now the reason I really want your guys' feedback is because I want to play this for the dedicatee soon, and I just want to make sure it's perfect before I present it to him. I did show the piece to my professor, but he said it sounded too traditional and suggested I listen to Sciarrino for inspiration 🥲 Let's just say I have different taste than him lol. The performance isn't perfect, and the score is very unpolished! But everything should come across pretty well hopefully. Thank you in advance! 😄

“Greetings, dear composers. And with this Allegro, my second sonata is complete, and I am very happy and satisfied with the entire work. This movement is like etude of modulations, but I believe I have refined it well enough for everything to sound natural and have the right balance. I hope you like it.”

@Churchcantor Almost nobody is familiar with Jommelli, and more is the pity. His Requiem is in E-flat major, yet it still sounds appropriately sombre. There are several good performances available on YouTube. Here's a link to my favourite:

You know what... by seeing this sentence immediately those two opening chords play on my brain and the music plays itself non-stop.....

No Doubt C# minor!! My all fav. piece, Beethoven's op.131 Quartet is also in that key. And I write my 3rd Piano Sonata in the key too. My upcoming piano pieces set will be in that key too. Henry

look @Henry Ng Tsz Kiu it has only been a year of me exploring the pipe organ lol but thanks for tagging. surprised you weren't interested in those random pauses... I like the modal harmonies of the piece but I think it would really benefit from specifying the registrations, as the score currently stands doesn't look idiomatic for the organist, and the default computer playback isn't doing wonders

I would second that. I can't really get a good impression of your piece from Noteflight, the playback is too ropey. (That may be why you're not getting many reviews.) MuseScore would give a much better rendition of your score, even with no tweaks whatsoever.

I feel that emotional writing in the 7th hits me.

Idk, I still think the flow is off. Maybe its just a stylistic preference, but the cadences into rests, then starting back up again threw me off. I kept thinking the music ended, but then it kept going. It's nice as it is though, its a really great picture type of piece, like a tone poem. I just think it could have been shorter if you like it the way it is, to me its begging for contrast. Not necessarily something crazy, like throwing green paint on a black and white drawing. But for instance, your harmonic texture is nearly the same throughout. You change chords at the same rate, which makes it monotonous after a while. That can be fine, but we never went somewhere else, so it staled a bit to me. It was very pretty, and as always your coloring is fantastic. The sax is always a nice touch, and Im a fan of your style! Thanks for sharing bruh

This one is a little bit minor, little bit dorian, kept it on the simpler side. 😄 I hope you enjoy, and as always all comments and thoughts are welcome!

I agree! I love how Debussy moved his chord progressions along. Thanks for listening I love this too. The sneaky parallel fifths in that string of chords sounds "shiny" to me, my brain kept wanting me to tinker with the counterpoint but I ultimately went with my ears. Thanks for listening, I'm glad you enjoyed it!

This is quite an accomplishment, and intensely beautiful. I'm not qualified to say much more than that because of my rooting in Classicism, but you have my compliments. I hope the dedicatee appreciates it.

p.s. i hope you don't mind, I attached a one-shot sightread of this piece. obviously a lot of mistakes as completely unpracticed, but I like playing through scores I like as it builds my familiarity + understanding of the piece. I think I feel less strongly about most of my above pieces of constructive feedback having played through the piece, other than still thinking that page 2 is unnecessarily floral for what is kind of a simple theme and the fugue does feel a little underdeveloped. Warning in advance that there are lots of mistakes but I think there are also lots of parts which alright and you might appreciate hearing someone else play through your music 🙂 you can hear me get a lot more confident at the recap -> coda I think.

Oh this is awesome 🙂 very full of life and joy, lots of humour in the modulation that never gets too excessive but remains very deft and fun throughout. Everything phrase feels very deliberate and rewarding! It is hard to pick any favourite moments given how well considered the whole construction feels. Entrance of the main theme reminds me a little of I think Stephen Heller's piano sonata no.3 in C major, 1st mvt. 🙂 edit: forgot to mention, final 2 bars are an absolute delight edit2: it's piano sonata no.3 not 4, i misremembered

Yes, I mostly write in a stream of consciousness. I often use either modes or pitch-classes. Although, when I have 3-4 different, contrasting parts, I often try to repeat some or all parts, maybe in another way, slower, faster. Just now, I'm writing something where I take the first theme, which was made in C aeolian, I repeat it with the first two bars in A harmonic minor, the next in B harmonic minor (not transposed just fitting the notes in the new mode) and then harmonizing in these modes. So I rarely use strict functional harmony, although I sometimes do. My ideas for harmony is also inspired by modern jazz-fusion as well as classical. Someone like Allan Holdsworth, that wasn't educated in music, but created his own weird harmonic language with complex chords that sounds great (IMO) but without functional harmony. If my choice of harmonies reflect that, it's an honour! My "stream of consciousness" are also inspired by Danish late romantic composer Rued Langgaard, especially his 4th symphony ("loevfald" - the falling leaves). Also, I try to go a bit further sometimes, like taking some ideas from "twentieth century harmony" by Vincent Persichetti, and using that as a starting point.

To be clear: this is a really awesome and impressive work. I have included a bunch of constructive notes in this since you seem keen for some 🙂 listening/reading notes: Introductory page is extremely beautiful. Love the improvisatory nature, spacious without feeling empty [Have to say I am not a huge fan of the F major melody on page 2, it feels a little straightforward to me] Modulation in bar 26 is very nifty 🙂 Love the bass motif in the main F minor subject, very characteristic and memorable Reappearance of the intro subject at 67 is great, everything up to the build and surprise Bb chord (fun trick) at 94 is awesome [95-108 is a little meandering for my taste] Modulations through 117-143 are very compelling and exciting 160-163: *chef's kiss* reminds me of some Rach climax harmonies here. Arpeggios at 165-180 are a little extravagant for my taste Fugue at 181-196 has a nice idea, you have a great subject, I just wish it had a little more time to breathe (4 voices enter on the subject without any development time between their entries). in this area bars 190-195 feel the most effective to me because they feel the most balanced; the voices here have rhythmic variety to distinguish themselves clearly and there's a little more negative space to guide the ear. I feel like the classic fugal structure of introduce voices 1 and 2 (maybe 3 if you're feeling brave), and then have some development time before introducing more voices, would work well here. It feels a little more like a gesture towards a fugue than a fugue (maybe it's a fughetta). Recap is great 🙂 i do like this theme a lot. The crunchy move in bar 229 is great 263-290 feels like it could be trimmed. We've just heard this theme in the recap a few moments ago anyway, and the straightforward dotted rhythm is not the most exciting thing to zone in on for several more bars. It feels the movement on top of the tremolo is a bit slow. But the exit out into 291 is very beautiful. I love the intro, so obviously I love the outro too 🙂 And to be fair, the F major theme from the start pays off pretty well in bars 317-318, great way to finish. (Maybe just something a bit briefer / less extravagant than page 2 would suit me.) I really like this piece! I think there is possibly a 12-13 minute version that I *love*, but it is not my place to play editor haha

Hi Stig. Just listened to "Evening Sun" It seemed like a stream of consciousness; rather than something with a fixed structure (such as Sonata form, Rondo form, etc...). I found some of your harmonies quite interesting and unexpected. Perhaps this is your unique was of composing. Have subscribed to your You Tube: so will try to listen to more of your work in the future.

harmonies in bar 3 (loove the surprise Csharp) and 34 (yay raised sixth!!!) are my faves 🙂 whole thing has a wonderful melancholy vibe. the tresillo rhythm of the middle section is a fun vibe to bring into it

It is well-constructed but reminds me too much of these semi-atonal things I wrote in college, like my monstrosity of a clarinet sonata! So, I love it, but do not like it.

Very nice! It sounds to me a bit proto-impressionistic, like a young Debussy.

Interesting...I might look into it if life gets a bit less crazy, as it has been for me this Fall!

You don't really need to learn how to use MuseScore. All you need to know is how to import a MusicXML file, and then export the audio file. Two very basic functions. The virtual instruments and voices are assigned automatically. Of course you can get better results by tweaking some of the dynamics and articulations; but you'll get a decent audio without doing any of that.

Howdy y'all! I'm writing an Oboe Quartet (Oboe, Violin, Viola, and 'Cello) and I'm wondering about the upper register of the Oboe. It's not exactly giving me fits, but I'm having trouble believing that the instrument is as limited as it seems to be, realistically. Being a Classicist, I tend to write parts that are intended to be playable on 18th Century instruments. I'm a string player, but have it on fairly good authority (and actual experience) that the Oboe, circa 1790-1800, was not really capable of playing anything above a D6 (D above high-C) reliably; there was a famous exception in the period, a virtuoso player named Friedrich Ramm (1744-1830) in Mannheim who was capable of playing an F6 (F above high-C), and it was for this player that Mozart wrote his celebrated Oboe Quartet in F, K. 370. In my own Sinfonia Concertante in C for Oboe, Bassoon, Fortepiano, Violin, 'Cello, and Orchestra, which was performed by the Austin Baroque Orchestra on period instruments (the oboe soloist's instrument was a copy of an original from 1806), I wrote a couple of E6s (E above High-C) that didn't come out well in performance, despite the excellence of the soloist otherwise, and that has made me hesitant to write anything in my other works for the oboe any higher than D6, even in my Oboe Concerto. Now I'm wondering if that register above D6 is difficult or unreliable on a modern Oboe. What do you guys think? I've had to rethink a couple of passages in this piece I'm working on, and I'd like to know if I'm being a little skittish. For that matter, if you think my experience with my Sinfonia Concertante was not representative of what a really good player should be able to play, I'd like to know that as well. Thanks in advance.

I'm not familiar with Jommelli, though I do know the Michael Haydn Requiem (influenced Mozart's), the Bruckner Requiem (modeled on Mozart's and in the same key of D Minor) that he wrote at age 24 and revised later in life, and even the Salieri Requiem, which has some great vocal writing! Gee Whiz; the Jommelli Requiem was written in the year of Mozart's birth! How weird is that? I will listen to it. My Requiem is MODELED on Mozart's unfinished Requiem, if you listen closely and see how I broke out the text. It does not SOUND like Mozart, except for the occasional turn of phrase.

Those octaves ARE divisi; I just don't mess with musical directions or even bowings on Noteflight. It's hard enough for me to just enter the notes! My manuscript has everything, though I'm not sure I even messed with that in the ms of this particular number! Vocally, this is beyond the means of the average church choir, obviously I would think! 😆

What is your favorite key/Note? or really, When you think of a melody, What key is it normally in? I came across this about a month ago where I noticed most of my music was in the key of D minor, and when I thought of a melody it was also in D minor; even though now there's a bit of B mixed in. It's just sort of a simple question, and I really want to see what others have to say about it!

I've noticed that for Christmas music (yes - it's that time of year and I've already written a piece for the season!) I always tend to write in the key of Eb major for some reason. It also happens to be the key of my favorite Beethoven Symphony - No. 3. Perhaps it's because of that symphony that people ordinarily think of that key as "heroic" but I think of it more as a warm key. I also prefer flat keys, even if it causes way more flats in the key signature than is practical. For example - I prefer Ab minor or Eb minor to G# or D# minor. I'll just use the Ab major and Eb major key signatures and write extra accidentals for the notes I need to make it minor. Interesting topic!

Hello, I will be just looking at your “ the evening sun”. Great pacing with the strings so far. Also, I like the flute solo thing. I like the mood that is giving off I like the little effects from the strings popping out sometimes I feel like the melodies can be smoothen out a little more in the brass I like the percussion arrangement and the instrumentation in the use of the percussion I believe that was a bassoon solo and it’s higher register I couldn’t tell that was very good The ending with solid, and yeah, it was a good composition just a little thing about pacing and what not and the piece direction it was one of those pieces that feels continuous because it’s short it doesn’t feel like the same thing and it’s structured in a good way with different instrumentations throughout and unique orchestration anyways good job

@PeterthePapercomPoser Oopsie, yep, fixed. (Unless it was a bass oboe 😮)

I'll just tag @MJFOBOE in this thread. Maybe he might be able to help you..

Hi Churchcantor: I've never thought of doing that, as I have rather few views, and I'm very much an amateur, but if you have Dorico Pro version 6 I could send the files. I have never tried to make a printable "engrave" version in Dorico, and as it is, the files are rather unreadable when i go to "engrave", I need to change the font or something, the staff-lines run into each other. It would off course be a good training to make an engrave version, so I might look into that, give it a month or so, then I could send a PDF. If you are interested, I have a couple of new small symphonic pieces: Sun in November October Nights

Yes, which I really like...my progression has some of that, but it's not as dramatic as I would've wanted. Yes lol...That was just some material that I had written previously that I harmonized...I tend to write like I'm making a quilt, little sections here and there until it comes together.

To me, the whole point of having a pedal tone over some changes is that at some point or another it becomes a non-harmonic tone in relation to the harmony which brings in some nice dissonant color. But your plan of having AbM-EbM/G-Gbmaj9-Dbm works because the G's and Gb's are dissonant with Ab. Now, the only thing that puzzles me is .. why did you take the trouble of modulating to Db minor if you immediately go back to Ab major? I thought you were going to stay in the Db minor key longer to introduce a contrasting theme or something?

I tried to make a song based off early internet viruses, even from before I was born using my notations software's transistor bass, made in 1988 with it unchanged since. sorry for the audio being absolutely chopped and laggy, i just might of went a bit crazy with the drums😅

i see sonata, i click this is magnificent. the motivic interactions... harmonic blending... so good. too long for my internet attention span. but I think it could work in a concert hall very well. and impressive fast octaves! very needed when it is the main motif one thing but that is personal opinion, the open octave accompaniment might sound a bit too hollow (like bar 67), does work better if the register is lower (like bar 17, 274 etc.) bars 189b-191a why suddenly regular triplets instead of the dotted? I find it becoming "too baroque" for a few seconds, especially with the traditional harmonies there. Again, opinion only, and I have no professional qualifications lol

@Thatguy v2.0 Here's my review on your prelude: 1. Harmony: The harmonic language throughout this prelude is lush, and beautiful. There are moments of chromaticism that create a sense of romanticism and yonder. Ex: b 26. I love how that sonority sneaks in and breaks the diatonic harmony. 2. Melodic material: You have established clear melodic motive the flows nicely with the harmony. 3. Character and tone: I feel that this piece is a romantic style prelude. Either chopin or Rachominov would have wrote something like this. 4. the score is readible and playable. Overall i enjoy it. 🙂

20247637.mp3 Sagai Go (Reprise).pdf I have reworked this piece since I last shared it, a few months ago. Sort of at a loss for what to do next, so I've been going over some older scores, correcting mistakes, improving harmonies and adding sections in places where it felt lacking. This score in particular, I had always felt was missing something; like the last section into the outro was rushed. So I added in a section between there to smooth out the transition into the outro, and have also changed the key of the score. I think it came out quite beautifully. I wasn't very scrutinizing to it for much else other than it's flow. If there are other mistakes that I missed, please feel free to call em' out 🙂

I have written another piece for my friend Kat's Casting! This time Kat asked the Muzoracle if she will graduate from a 4-year university. (Muzoracle is a storytelling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice.) My interpretation of the cards and dice are displayed below. Since the first card drawn was a Conductor of Percussion card, I chose to use Piano, an instrument that Kat likes. The second card drawn was a Major 7th of Woodwinds, so I chose Clarinet, an instrument that Kat used to play. And finally the third card drawn was an Octave of Voices card, so I chose a solo Soprano singer. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Kat's Casting is about a minute and a half long. Since the black 12-sided Musician's Die landed on F, the piece is in the key of F major. I created the following melodic/harmonic underdrawing guided by the cards and dice. The first solfege die landed on Ti and the card indicated a percussion instrument - in this case, Piano. So I had the Piano start solo on an E (in the left hand). Then I had the Clarinet and Soprano enter on an anacrusis into a melody that uses E, Db, C, and B. Since the interval of a Minor 2nd is prominent in the casting, I decided to transpose the whole melodic/harmonic underdrawing down a Minor 2nd giving me access to tones needed to create a V7 of F. I then used that dominant to bring the piece into F major and repeat the melodies and harmonies at the pitch level of F before repeating the piece and ending on an F7 #11 chord. I also liberally used accelerandi and ritardandi, guided by the accelerando/ritardando card in the 1st position. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short chamber work I wrote to represent Kat's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

Judging by the music, I'd say no lol Aside from that, the music is really cool! The delay effect is haunting, and you've once again woven randomness into a great piece of music. Nice work there Peter

Hello @JorgeDavid To me this rather sounds like Rachmoninov vocalise. You share the similar the melodic fluency that his did. Yes, I can hear the Bartok and Stravinsky. But, I am not sure how. The vocal line is beautiful; and the piano part is nice. It is nice piece overall. This would be great piece for a warmup.

@Churchcantor Figured I’d nudge ya regarding your thoughts on this score and what could’ve been done to improve it 🙂 Life gets ahead of all of us, as I’m aware. I’m sure this post went to the back of your mind after some time. No rush! Just didn’t want ya to forget about me!

I want to go from Fm to C#m, though Still easy, though

Dear friends, hello! I'm Zhang Wenhao, a singer-songwriter from China. It's been a while! This time, I'd like to share with you a folk song that describes the comfort, ease and relaxation of rural life. It's called "Travel Notes of Mountains and Waters". This song tells the story of traveling and enjoying the mountains and waters. I think many people nowadays are under too much pressure from work and life, and they need an outlet to vent and relax. So I'm presenting this "Travel Notes of Mountains and Waters" to you all. I hope that after hearing it, you can temporarily forget your physical and mental fatigue and find solace. 亲爱的朋友们，你们好，我是来自中国的创作歌手张文灏，好久不见！这次来跟大家分享的是一首描写乡村田园生活的舒适、惬意、放松的民谣作品，名字叫《山水游记》。 这首歌讲的是旅行中游山玩水的故事。我觉得现在很多人的工作、生活压力都太大了，需要一个出口来宣泄、放松，所以把这首《山水游记》送给大家，愿你们听到以后，可以暂时忘记身心的疲惫，得到慰藉。 张文灏-山水游记.mp3 歌词如下/The lyrics are as follows： 《山水游记》/《Landscape Travel Notes》 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 山腰上吹拂过一枕清风 听山脚蜿蜒过一泓水流 采茶女背着箩筐桥上走 茶歌悠悠飘到山的那头 硕果香把整座山园甜透 小朋友伸着鼻子贪婪嗅 穿过孩群我们到池塘口 有自在蝌蚪和鱼来回游 这山与水 我梦里来过 水畔有个你 山上有个我 你在山水中 笑着对我说 钟爱这秀美 如画的景色 这山与水 我梦里来过 水畔有个你 山上有个我 你在山水中 笑着对我说 钟爱这高雅 如诗的生活 怡人的稻花香随风飞舞 抚摸着脸颊像柔和丝绸 石径旁清泉自顾自清澈 像这处世外桃源的清幽 日头下落世界披上霞红 不远处袅袅炊烟升得稠 回到村庄我们举酒欢歌 饮尽山的包容水的温柔 这山与水 我梦里来过 水畔有个你 山上有个我 你在山水中 笑着对我说 钟爱这秀美 如画的景色 这山与水 我梦里来过 水畔有个你 山上有个我 你在山水中 笑着对我说 钟爱这高雅 如诗的生活

Hello there! Before, I had the project in mind of writing 12 piano preludes, and that was just dandy. I don't know how consecutively I'll write more, but a few ideas have lingered lately so I figured I would dabble at it again. Here's a very short one in C, hope you enjoy!

Hi @UncleRed99! Clearly I forgot your original post so I will just treat this as a complete new one lol. I think so too, I enjoy this Japanese style music with a slight sadness but not too much. I feel like in b.51 the transition to a louder passage is a bit abrupt, maybe add a gradual transition with a volume crescendo before it? Because for me it's the only place I feel abrupt in the entire piece even though there are other spots with the tacit after a fermata. I feel like the trumpet melody in b.61-63 is too high in its register and will overpower the other instruments. Overpowering is ok but I think it doesn't fit your style here too much personally. And in b.53-57 there's an imitation between oboe and saxophone, but I think the oboe is overpowered by the saxophone so the imitation is not the most effective. And in b.94-95 I feel like the accompanying figure is given too much emphasis particularly with the 1st violin and trumpet. Maybe remove the trumpet? I sound nitpicky, but I do enjoy the piece! Thx for sharing. Henry

In response to some recent low-quality low-effort posting in the forum the staff have decided to form some rules about proper forum etiquette and what constitutes fair and reasonable use of the forum: 1a) If you suspect that something might have to be deleted by a Reviewer, Moderator or Administrator, don't post it. 1b) Or if you suspect that your post might not be appropriate for some reason consider if it might not fit better in a different section of the forum. The forum has many sub-forums in it that are meant to be flexible and allow users to post all kinds of content, as long as it has its proper place. 2a) Keep threads on topic. Although the forum is meant almost exclusively for music discussions, there are sub-forums which are dedicated to any topic which can be used, if users so desire, to "shoot the sh*t". 2b) But if a thread is meant to be about a specific musical composition posted in "Upload your Compositions for Analysis and Feedback" please keep the thread about the music posted in question. If you want to post a new piece of music as a response to someone else's post, please create a new dedicated topic for that piece. 3) Please refrain from talking about inflammatory topics such as substance use or abuse or sexually explicit topics considered NSFW. And if you must talk about religion or politics, please create dedicated topics in appropriate sub-forums rather than flooding the musical forums with unrelated conversation. Also, please try to keep talk of religion or politics related to music history. Disregarding this etiquette will cause the member in question to be penalized with a warning point and the following penalties: 3 warning points - member's content will be manually moderated by the staff 6 warning points - member will be temporarily restricted from posting content 9 warning points - member will be temporarily suspended from accessing the site 12 or more warning points - member will be considered to be banned from the site permanently Editing of inflammatory posts in question will potentially reverse warning points.

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!

Huge disclaimer: I am not an oboist. But I'd imagine it really depends on what you need the oboe to do. My first immediate thoughts go to the intro in Haydn's oboe concerto which, if I remember correctly, holds onto C6 for quite a while. It does go up to D at the end of the first movement, but only on a non-diatonic chord, so that extra brightness is warranted. Even then, it's really short. I compare that to his contemporaries' concerti, Mozart's, Kozeluch's, and Ferlendis's. On a quick scan, I don't much see anything past C in any of them, though I see some similarities to Haydn's: Kozeluch is also comfortable holding onto C5 for a while and Mozart uses D5 as a brief note in a higher moment. From what I remember for Ferlendis's, it plays it pretty safe, all things considered. I don't have the music, but a quick Google search shows that nothing over C5 is really lingered on. For that reason, my gut tells me to say that C5 is where you edge out for longer, full-bodied sounds and things above it like D5, etc., can be used quickly on occasion, but not in the same way as C5, and certainly not commonly. But that's all conjecture; I don't actually know the ins and outs. Luckily I write modern music, so those suckers have to deal with whatever I give them, hee hee hee!