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Subject: Honest Feedback Requested: Lithl - Swarm of Sound (Polytempo & Polyrhythm) I would like to hear your honest thoughts on my piece, "Swarm of Sound," without any flattery or sugar-coating. I don't mind harsh criticism at all; in fact, I would find it very helpful. This was submitted to the Sonuscore Competition. (While the music was not originally composed for this contest, the video was created specifically for it, so it differs from the actual original concept.) It was rejected, and I want to know exactly why it failed, where it fell short, and whether it even functions as "music" at all. Please provide your feedback without any compromise . =The Concept= Idea: The piece was built around the imagery of a massive swarm of percussion with strings.While the result bears a slight resemblance to Ligeti's Requiem: II. Kyrie. Molto espressivo, it was created primarily out of curiosity—specifically to see what would happen when stacking polyrhythms in polytempo based on my initial imagery. =Compositional Elements= A. Polyrhythm: Based on the concept of using 12 notes in the strings, I chose a 3:4:7 ratio (resulting in 12 notes per cycle). B. Polytempo: The above polyrhythms will be performed in polytempo.I determined the tempo based on a manually drawn graph. There are 12 sections; each new tempo is added as the previous cycle ends. The tempos are based on integer ratios rather than simple multiples, progressively getting faster. C. 12-Tone Strings: To evoke the "swarm" image, I used all 12 tones. Strings are triggered simultaneously with the polyrhythmic/polytempo timings and held until the next note is played. Furthermore, the strings are layered in octaves. This ensures all 12 tones are constantly sounding to heighten the sense of chaos. The strings are played with tremolo. D. Aleatoric Selection (Dice): To remove personal bias from the note selection, I attempted a randomized system based on simple rules (inspired by John Cage). Specifically, as shown in the video, I created a table using dice to select the notes. This makes it more chaotic and hopefully creates a kind of swarm of sound. =Final Note= I submitted this because the timing coincided with a contest held by Sonuscore, a major strings library developer, but consequently, It was rejected. While the other entries were undoubtedly wonderful, I am left wondering if this rejection proves that I lack talent or that I am merely producing self-indulgent noise that provides no value to the listener. If that is the case, I intend to change my approach immediately upon receiving feedback. Please be blunt. I am not looking for comfort; I am looking for a harsh, honest critique. I would truly appreciate your rigorous feedback. (Private feedback is also highly appreciated.) Thank you and sorry for taking up your time.

Hi Sera, welcome to the forums! Just as an advice, many of us like to read the sheet music in case there's any. Maybe it's not the case here? Did you use a DAW to make this directly in MIDI + VSTs? Hmmm. Still in the first mp3 you attached. I guess I should read these criticisms more in depth in order to see how much I would agree or disagree with them. Often, the definitions of what X or Y are depend widely on the person using them. I would be inclined to think that when somebody told you that there's "no melody" they tried to convey something a bit deeper than "there's absence of a melodic line". Maybe they themselves don't even know how any better way to tell you their thoughts, but again I am not sure since I did not read these comments myself. There's obviously a melody in the sense there's an horizontal line in the piano (and later, on the strings) that's intentionally put on top of the rest of the sound mix, and there is some motive repeating here and there but it is shadowed by the —I would say, evident— vertical design of the piece in one hand, and also by the repetitive nature of the piece itself, a repetition that does not rely on the melody but that is commanded by that vertical design. The block-ish simple 4-chord progression/wheel harmony (Em G Bm D, with ocassional variations G-> Am, Bm-> Eb), to me and in this very case, competes against the melody here, and successfully (to some of your critics disgrace) robs a good chunk of its prominence. Adding variations and ostinatos on top of or next to said melodic line does not help. On top of that, the dynamics that are not built by layering instruments/voices are in my opinion either very subtle or inexistent. All in all, I can get people saying: "there's no melody" as an oversimplification of "this piece lacks a strong melodic line leading it". In fact, the harmony itself leads (or restricts) the melody. As much as there's rhytmic movement in the upper voice in the piano, it always stays inside of each bar. The piece barely moves from that so what the brain ultimately gets is "| Things | Things | Things | Things |". The melody is not on top of that, but constrained to that rigid sub-structure. Your alternative three "melodies" suffer from that. You build vertically, vertical sub-structure commands over horizontal movements, and thus the melody you build doesn't escape and get the prominence it needs to be righteously called a "melody". This does not mean that any piece with these characteristics will have no distinguishable melody, but that this happens in this particular case. Let's stop a bit at the "it's just tinkling", I would not say that but I kind of get where this may come from too. Keeping in mind what I discussed in last paragraph, if you combine "melodic line not leading", "ostinatos & small variations" and we consider that the piano resorts to it's high register in order to make that melodic line more prominent, we get something that we could indeed call "piano tinkle". I would say it can be cantabile, but it can also feel easily forgettable because it again gets diluted by the things I have been pointing out in this message. But wait a minute: do you intend this piece to have a prominent melodic line to begin with? After 3-4 listenings, it strikes me as a piece with (strong?) influence of the style of L. Einaudi (and the likes) . I'm not a fan, but it's yet another way to build music and it doesn't neccesarily rely on a melodic line to move things forward. For certain purposes, you don't even want things to "move forward". You may want to create an "atmosphere", or simply something whose main source of movement &/or development is not concentrated in the melody. You do you. Finally: it doesn't strike me as a Ballade but I'm not sure if there's a clear defintion of that so no big deal. Did you yourself think: "I want to make a piece with a clear, distinguishable melody."? Just curious. Best regards, Daniel–Ø.

I'm impressed both by your light touch playing this, and the lack of scratching out on your handwritten copy. If I wrote that way, it would be all chaotic scribbled out former ideas. The interplay between your first and second sections works very well! A very satisfying piece to listen to!

Hello! It is time. As you asked, I have delivered. Attached on this comment are my annotations on the arrangement thus far. Directly under, I have attached a sample PDF and sample Audio file to pair with my notes. The notes are found at the end of the current score and if you have any questions, please do not hesitate to ask! Kvothe - Reger Humoresque (ANNOTATED).pdf Attached Files: Kvothe_Example.pdf Kvothe_ExampleAudio.mp3

Hi all, it's been a really long time, I decided I wanted to come back and check out what's going on! I also wanted to share two successes of mine in the past several months: Slipping, which was written in early-2025, written for Symphonic Orchestra, was performed by the California Youth Symphony in November 2025. I have attached the score and two recordings of it, one MIDI and one of the performance. The Dunning-Kruger Effect, written in mid-2025, written for String Orchestra, was performed by my school orchestra, which I conducted. I have attached the score and here's the video: https://youtu.be/CQBDUVbKEpQ?si=psCVro_MLM3NfmEV . Looking forward to seeing what's going on in this forum after so long! Slipping.mp3 Slipping FINAL MIDI.mp3 Slipping-score.pdf the dunning-kruger effect score.pdf

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 4 8 2 10 3 8 2 9 Average Score: 5.75 I'm not one to enjoy being critical, too harshly of anyone's original music, as most of the time, music is subjective and taken in based on individual opinion and preference, but from a professional stand point, this score is quite difficult to follow. I'd also note that the terms of the competition stated; "3 - 5 monophonic or polyphonic instruments/voices." {most of the Instrumentation choices here are neither mono / polyphonic in nature, and there are far too many of them.. lol} While I understand your intent, in your use of braces (which you used grand staff brackets rather than part brackets, but I understand, nonetheless lol), for a section representing 1 performer, it's simply not within the constraints of the rules of the competition. I went ahead and graded it as I would any other score, however, to provide you with some level of feedback on the writing done here. I did not want to neglect it, artistically. As you can see, I highly favor the Originality, the Textures, and your taste within the given score, however, the piece itself is very "through-composed" without much rhyme or reason that's easily discernible... Meaning, I don't hear a motif that catches my attention; a home for me to reference back to again, to keep my ear on-track with the music. For that reason, I felt a 2 was appropriate for the form/development section, as well as the 4 in the Melodies, Themes, and Motives. (Slightly higher because of the intricacies in melodic components with the few polyphonic instruments you do have in use for this score.) Ultimately, I feel that this score should not be considered as a valid entry, simply based on the number of staves you've used here, despite the constraints, but I will always have respect for anything that anyone has taken their time and effort to work on, and this piece, in and of itself, has the potential to be much greater than it is, currently, I think. - Uncle Red

Hello YC gang, Below I have attached the first ten measures of arrangement of Meger second Humorquse. The cast is woods in pairs and two horns. Here is what needs to you check for me: Score this as if this this was entry for YC contest. My goals; I want to successfully score for orchestra->check balance, texture, and timbre. Check for engraving errors I have missed. check for instrumation errors Harmony errors etc Reger Humor no. 2 untitled.mp3 Meger.pdf

Hello Tristan: I have these glaring errors in there because I don't play the piano—and when I do, I only use virtual instruments. You are right about that octave; I hadn't considered that it might not be playable. As for those notes that appear to be marked as triplets, they are actually three eighth notes, though they do look like a triplet here. I didn't intend to have triplets there—nor could I have them—because I would otherwise be short an eighth note. Thanks again for your helpful tips.

Hi Tristan! Nice composition! I would say, you have a nice thematic idea. You could have progressed it, though, into d dur or perhaps c dur. As we can see here:. your writing is very messy, although using a notation software. You should know that in composition, you could always use marks such as simile. You also didn't have to keep emphasizing that it is piano and not something else like... Idk... fortississississississississississimo. As you can see, you have decided to make a triplet here at the start. Very creative, but, the problem is the notation. You need to have a 3 on the top of the triplet... Right? Adding on to my point, it doesn't even sound like a triplet, so why did you do like such? I am confused. Also, you shouldn't write ♩=120. Instead, write Italian. More fancy, you know. Write moderato. Write poco allegretto ma non troppo. (etc.). Moreover, some stuff are proving a second Rachmaninov, which is you, because of these.: yep. That is your left hand span... I am surprised. Nice one, welcome to YC, enjoy your time, see you later! -TristanTheTristan Composer

Just had a listen to it. I'm not sure if it's stimulating but I found it funny (in the good way) at times. I can get why it's called "noise": the piece ended, and youtube directly put "Studie 1" from Stockhausen next. I couldn't have told that it was a diferent piece if they were both presented in the same mp3. I would say this is a matter of finding your public. Value is relative, and subjective. There's always a non-zero chance that some may find your work (the one you submitted) interesting or even beautiful. In fact, you can prove this yourself by making something you may find most terrible and sharing it. Sooner or later, someone may appear and praise it. Keep following the path you like. Kind regards!

Hi Lithl, welcome to the forums! As an experiment, I'm sure it's been entertaining and enriching for you. For me, the result is just a noise crescendo, I don't find it interesting at all. The processes that lead to it may be, though. I don't think that what you did proves or disproves that you lack talent. From this alone it's impossible to tell. Talent for what exactly, though? What are you pursuing? Are the other contestants' works similar to yours? How important is it to you to provide value to the listener? Best regards, Daniel–Ø.

Really? That sounds like a very harsh critique. To be truthful, I think your work is good; it simply reflects your good style. Your melodies have a certain melancholic quality, yet they still feel energetic and full of hope—Specifically, in version 80, the first 27 seconds have a bit of a lonely, melancholic atmosphere. But starting with the note at 0:28, it feels as if the music begins to take a step forward with a sense of hope. It’s hard to put into words, but that’s the impression I get. Whether that was intentional or not, your music is capable of telling a story, and I think that’s great. I’m also interested to hear how others feel about it, not just me.

Could you tell me, for example, what kind of criticisms you received? Personally, I think it’s good overall!! If I had to point something out, I’d say the melodic phrasing feels a bit similar throughout, which makes the development feel a little thin. Among the new melodies, I really like measure 90. Personally, I thought it might be interesting to try swapping the left-hand accompaniment of 90 with something like what's in measure 96! By the way, if you don't mind, could you tell me the name of that forum? I’d love to take a look myself.

Hello my dear friend, First of all, thank you for taking the time to listen to my sonata, and I’m truly happy that you enjoyed it. I thought it might be nice to share with you how I conceive these sonatas in my mind. The truth is that I have blended many different elements into binary form with the intention of creating something personal—my own voice through binary form. Structurally, it is indeed binary, as expected. What I do differently is to approach it with a more Classical sense of transitions and dramatic development. So in essence, my sonatas are fundamentally binary, but with a Classical morphology, featuring clear transitions and the sense of dramaturgy found in the Classical era. Harmonically, I would say it is a mixture of many influences—primarily Classical, with touches of early Romanticism. I absolutely love binary form. Domenico Scarlatti has been an incredible inspiration to me, and I decided that I, too, wanted to create a vast musical diary of binary sonatas—works that truly feel like my own personal musical journal. At the same time, this form encourages me to be bolder, more innovative, and more adventurous compared with other genres. Once again, thank you, my dear friend.

Hello @Vasilis Michael It is refreshing to see a binary sonata form. Binary was primarily used by baroque period composers before the proper form took off. In the A section, you would have your primary theme in tonic. Followed by contrasting B section in the Dominant. What makes binary stand out: the lack of transition between the two sections. Or maybe there is one(?) We can tell there are two major sections. One that repeats and one that follows after repeat of first section. Ergo. binary! I love how the main motive is used thorough out the entire piece. It moves so flawlessly. As usually, your writing is on par! I could not hear anything wrong. :)

Hi Tristan, This sounds very nice! I would suggest finding a different composition software to use, however. The spacing of the notes on the page is a bit all over the place, which makes this challenging to sight read. Musescore is a good free option that sorts that out for you automatically. I haven't used Vocaroo, but I understand it has some AI features for editing recordings?

Not normally, no. They are standard in our industry. The only time it would be broken is when you have a larger ensemble or other instrument combinations that are not standard. In this case, it’s not about orchestral order, it’s about highest-> lowest instrument for the layout.

Those are very different things. If I buy a hydraulic press and use it to flatten a stainless steel pipe, obviously I'm morally responsible for flattening the pipe. If that pipe belonged to someone else, I can hardly evade responsibility by saying, "Hey, it wasn't me! It was the hydraulic press!" On the other hand, it's equally obvious that I can't lay claim to flattening the pipe as a feat of strength. If I cry, "Behold my strength!" as I hold the flattened piece of steel aloft, I am quite rightly met with, "Uh... you didn't do that. The hydraulic press did."

Hi to all, Here's my first attempt to orchestrate this nocturne. I actually started this last year, and never really finished it properly. I know there's a load of things wrong with it! Not least all the missing slurs and clumsy handovers, etc... The cadenza-like figure on Pages 8 and 9 is particularly awkward to orchestrate: so any suggestions would be very welcome! Maybe I should divide up the runs into shorter figures, and spread them out across different instruments? Perhaps dovetailing these together with overlapping notes, or single handover notes? That way the cadenza could work its way around the orchestra to give a nice 3D effect? Anyway, just thinking outloud! Hope you enjoy. Nocturne No.1 in Eb minor (Faure orchestration) #41.mp3 Nocturne No.1 in Eb minor (Faure orchestration) #41.pdf

Hello I have to say that, overall, it sounds very good. Without being a super-expert in orchestration, I think I’d take a closer look at a few things. For example, there are some very large leaps that could be handled differently, such as the bass clarinet and oboes in bars 9–10, or the tuba in bars 107–109. There are other examples too. I’m not familiar with the original version, but perhaps it’s a bit too literal. There are very low registers for some instruments, such as that piccolo arpeggio in bar 87. And with an impossible pppppp dynamic, which is also incongruous: as it ascends, it doesn’t make sense for the volume to decrease.

Yes, I do understand. I think it depends a lot on what your goals are, how you work, and why. For someone who arranges or produces music, who works with a DAW, a ‘wordbuilder’-type concept will be best because the result is surely more realistic (at least for now, given that Cantai has only been on the market for less than a week, according to Dorico). It also allows you to work with lots of different software. But that’s not my role when it comes to music. What I like is writing music and getting it to sound, more or less, acceptable. I do it purely as a hobby; it’s not my profession. And although I’ve used Finale and MuseScore, I’m much more familiar with Dorico. That’s why this integration is brilliant for me.

You Don't have to live in the past...................Your Free to Embrace the Future. Since joining this site in late February this year, we've had over 1.000 emails requesting Quotes for compositions from Vimeo.com , via Youngcomposers.com Does anybody know if this site is hosted in the U.S.A ?

Hello @Alex Weidmann. This is beautiful orchestration of Faure's Prelude. I love the tonal colors and textures you have created. However, I have a few minor suggestions. I would recommend have full score on page 1in score order. Then following pages, you can condense it. woods and brass usually share staves. That way, you can write a2 or which wood part or which brass part. The Pitch percussion is barely noticeable. Same goes for the harp. 3 and 4 have to do with orchestral balance issues.

That's a lot of info dumping...with very valid comments from @Kvothe and @MK_Piano. I am curious if this specific piece was requested by a 3rd party or did you create for your own learning/pleasure? I'm also not understanding your answer to @MK_Piano's question of how you write your pieces? You mentioned keyboard...do you input the notes and everything using that keyboard? Or it does it come with pre-rendered samples and you just mash them together? I'm a noob when it comes to electronic music... As for the piece of music here, it's alright. It's catchy but repetitive and generic. Not really sure how it ties to Alaska...if you didn't have the video posted, I would've chalked it up to random elevator music. If what you say is true about how the media industry works, it's a shame that the craft of a music making to tell the story pioneered by legends such as Korngold, Newman, Williams, etc. is dead.

Since today is this year's Mother's Day, I finally decided to finish revamping a composition I had already published for the very same occasion 3 years ago. Compared to the original, the whole piece has been transposed from E to B minor in order to better accommodate for newly included passages. However, still not dissimilar from the first drafts, passages with constant false relations are abundantly featured in this piece, to the point that the harmonic resolutions expected of more conservative counterpoint are frequently sacrificed for the sake of chromatic saturation. Scrolling video link (YouTube): https://www.youtube.com/watch?v=mYUZX-iQSF4 Passacaille en Valse in B minor.mp3 Passacaille en Valse in B minor.pdf

I don’t know why it’s called ‘Cantai’. But I don’t think it has anything to do with artificial intelligence; rather, it means ‘to sing’ or one of its verb forms in various Latin-based languages. What’s more, it uses recordings of real professional singers (soloists and choirs). I’m familiar with that software you mention. And I used to have it, but depending on what you want to do or what your needs are, it’s better or worse for different people. What I like about Cantai is that you write the notes and the text in the same editing programme (MuseScore, Sibelius, Dorico). And that’s it. It uses expression maps for dynamics and so on. You don’t have to work outside the editing programme (in a DAW, or in XML, etc.). Which is fine, if that’s what you want to do

waltz 2.mp3waltz 2.pdfwaltz 1.mp3waltz 1.pdf would enjoy feedback

Welcome! Don't worry! You will do fine.

[INFO DUMP pt.2] Unfortunately this scenario is only hypothetical and will stay hypothetical. To be as blunt as possible, there is flaw in the logic. So far, no one I have seen on the forums or any of your uploads have critiqued the raw music. It has been often aimed on the presentation of the music and in this case, about the sheet music. Having music performed is a competitive goal. 100s-1000s of people submit works every year for performance opportunities, both in the educational and professional scene. Speaking from my own experience, all the opportunities I have applied for have asked for a Resume and portfolio. Even if you have "the best work" from an subjective standpoint, they will go with the more experienced person in the professional scene and in the educational realm, they are more likely to give more chances to newer composers. I have made over 20 original pieces that I personally say are perfect and several arrangements. Most of my pieces are for the orchestra, and in my notation engine... I have over 100 files worth of scores. Out of all my music, I've been given the chance to have only four of my pieces performed, three of which were by me. I cannot understate how hard it is to get music performed for large ensembles. Yes, I know a lot and can guide a lot of musicians, but I am just another dude who does not have a big portfolio. I have to start small and work my way up. If a producer asks if you have a portfolio, this indirectly will show if you have had music performed, NOT just if it was made. I can draw a stickman but I do not call myself Monet or Dali. Just because you made a song or two is great, yet, how much experience do you have hearing your music live? If you haven't... then how often are you participating in the music community? Have you worked with other conductors, professors, soloists and varying ensembles? To tie back into the forum, we only want to see others succeed. This is why I share such detailed analysis of varying scores. It may be the one encounter that opens a new door in their thinking, or help provide an expectation of scores in the community. This is why I comment now. None of it is personal, at least coming from me. If you wish to talk about score engraving, then I'd be willing. It's a different ballgame compared to the music creation.

Hi! Actually I just completed my piano toccata piece inspired from living near the motor city (Detroit, MI) in my childhood... I decided to make this toccata piece since I thought the mechanistic characteristics of the genre match well with general images of the motor city... In this piece I tried to express free style of lots of jazz and popular music heard when I was growing up near Detroit, while keeping this piece modern classical music... Hope you enjoy this piece, and please feel free to leave any comments and suggestions :) Motorcity Toccata.mp3 Motorcity Toccata.pdf

Just looking for general feedback on a less adventurous work before I dive into a more involved work. I feel like advice on the use of harmony and motifs would improve most of my work, and I could develop those skills by learning to improve some of my existing work. Waltz in Eb.mp3

I wanted to share a recent project for school; I wasn't quite sure which forum this belonged in. It sounds best on headphones. I would love any feedback; this was made entirely with Cubase virtual instruments so the rhythm guitar might be slightly annoying. That said, I would love to make a proper recording of this piece in the future.

Try to cut the delay on the F# and put the F in a lower octave. But most important: adjust the length of the delay on the F# if it can be isolated. If not maybe you don't need it for that bar or beat. Not sure what software you are using or how much control you have of the effects. You could also double the F in a lower octave and leave the one you have in the lead voice. Might help...

Hello @barko -- thank you for listening and for the encouraging words! At 1:24 I know I definitely intended a G7 chord, but the F sharp from the previous chord is still present and clashing with the F because I'm using such long delays. I will experiment with voicing the chord change differently and avoiding that half-step rub. Thank you for pointing it out. 🙂 ~ Gwen

Very nice melody & chords. I agree with Peter, the title is perfect. There's a bit of an awkward moment @ 1:24 where the note doesn't blend with the chord. Maybe try another voicing? Anyway you certainly have talent. Good melodies are not easy to come by. Keep up the good work!

Hello! Thank you for the kind words, and sorry for the delay -- I just finished the Spring semester of school today. I just posted an alternate version of this piece on my SoundCloud with a synth pad I thought was interesting. It's a bit "thicker". I would love to hear any thoughts if you feel moved to listen. https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

New version with synth ("Wave Turn Around" from HALion Sonic): https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

Sounds good! Very relaxing and it does remind me of summer. Maybe a pad synth sound in the background?

Hello Peter! Thank you so much for your thoughtful feedback! I will consider recording the rhythm part on electric piano. I tried it out really quickly in Cubase. I came up with every chord at the guitar but my skill level is elementary and I agree that an electric piano might be an improvement -- especially a softer timbre. I'm glad this tune evoked a clear atmosphere for you; while writing it my mind went to taking walks around my California neighborhood in the morning with the sun being very strong. It kinds of melts any thoughts away and maybe that's why if the music sounds circular. I'm happy if the conclusion sounds solid; I struggle with endings in general lately. :S The assignment was: "Compose a short piece of about 32 bars in length in AABA song form that modulates to a distantly related key and then returns to the original key." Other than that it was really open-ended. 🙂 Thank you for listening! ☀️ ~ Gwendolyn

Hello @Gwendolyn Przyjazna! I think you picked the perfect title for this instrumental. It sounds to me like you could substitute electric piano for the rhythm guitar - and right now, the way it is rendered, it sounds more idiomatic to what a piano is capable of playing rather than a guitar imo. I think the guitar melody is especially evocative of solitude. It also uses a good blend of unity and variety - repeating certain phrases and elaborating on others in an unexpected and musically interesting way. The almost-aimless nature of the harmonic progression sometimes makes me think of someone in the throes of a heatstroke, which is very appropriate for a piece about summer! LoL I think It ends very nicely too - making a piece like this sound like its concluded can be difficult - it sounds like it just wants to go on and repeat itself forever. What was the assignment/prompt that this was written for? It is very interesting music and with a unique melodic sensibility that seems very individual and personal to you. Great job and thanks for sharing!

It's been quite a while since I posted anything on here, but then again I haven't written much other than many failed attempts at writing songs. Recently I decided to just shed the lyrics and concentrate on the music, so here goes...

I've added the score.

Thank you for your thoughtful and complimentary review. Just to clarify, the intended harmonic structure (of the A section or main theme) is mostly a quick journey through the cycle of 5ths (loosely speaking): Em7 - A7 - Dm7 - G7 - Cm - Em7/B - Ab13 - A7 - Dm7 - G7 - C with a few random or nearly random dissonances thrown in. To me it clearly ends on the tonic (ignoring the random dissonances thrown in for laughs) though it's true it starts on 3m. Thanks again.

Hi @barko! A quite unique little waltz that seems like it does nothing cliche. I've listened to it a few times now and it's very individual and interesting! It definitely has a specific tonality, but since it either doesn't start or end on the tonic chord it's hard to determine just from listening what it might be (which I think is a good thing and generates much harmonic and melodic interest!) I also love the unusual combination of instruments that gives this quite a wacky flavor. Tuba +Organ + Saxophone + Pitched Percussion works really well. Thanks for sharing! Peter

Over the past half a year or so, I have been working constantly on these pieces, it taking the highest priority out of all the projects I had been working on. Throughout these pieces, I explored and pushed the boundaries of my own style, experimenting with conventional and unconventional harmony, and attempting to embody some of the composers I most idolize. This is the first time I've ever undertaken a multi-movement project and truly experienced what it's like, and it has been such a satisfying and rewarding 6 months. I've written, rewritten, and rewritten again many of these pieces, but it's all worth it. Presenting, Obscurity.

Have listened to the whole suite now. I found the 2nd movement both playful and disturbing, the 3rd was dramatic and scary, and I especially liked the soft woodwind passage near the end. The 4th had some very interesting harmonic progressions and use of dissonance, and the 5th brought the suite to a frenetic and virtuosic conclusion! A very enjoyable work overall. Hopefully you'll get some reviews from those here who are better at analysing harmony and structure.

thank you, do tell me what you think of the other movements if you get a chance to take a look at them!

thank you very much! the formatting of the parts did worry me initially, but i think that's an easy fix, since it's just changing the dimensions of the page.

Incredible work. Bravo. This suite displays a mastery of harmony, orchestration, motivic development, and form. I’m very impressed by musesounds here aswell. I initially thought it was a live performance. The textures and orchestral writing are surprisingly full sounding despite the lack of brass, especially in the first movement with only light winds, strings, and a triangle. I do have one immediately noticeable problem in regards with the score, namely in the final movement, there are so few measure per page and the music is so fast, the conductor would have a heck of a time trying to make those page turns. Other than that, it is in my eyes a flawless creation, atleast upon first inspection. Maybe after a few more listens I could have more beneficial feedback.

Your first movement has a very profound sense of melancholy, combined with a mystical quality. This seems like an unusual combination; though not necessarily a bad one. Perhaps your work is living up to its title, and the meaning is obscure! I definitely feel compelled to hear the other movements: so will write more once I've gone through them.