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

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

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

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

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

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

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

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

Thank you Lithl! They are all good :)

Hi Wieland, This mix of fugal and dissonances is quite unusual (to my ears), but really enjoyable. As already mentioned by others, the contrapuntal material is really interesting, well done! The end in particular (starting from bar 91), I really found profound and full of emotion. And after 3 listenings, I found the orchestrated version: WOW !!! The only criticism there is that I find it a little "too diverse" in instrumentation (if that makes sense). But really: well done, and I liked the Parisian feeling (I really felt I was in Montmartre), which is in line with Paul Verlaine's theme! Did you get any prize for it in the end ;-) ? Cheers, Julien

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

Score:

I get what you mean :), I made this version of the "score" for myself so I already know how to interpret it but if I wanted someone else to do it I would tell them to interpret freely! I think same goes for the poem, it doesn't mean anything clear and different people will interpret (or recite if we want to compare to playing) it in different ways.

Oh, all right. I also see graphic scores as something like that, but as a composer, you have to be prepared for the fact that the interpretation of these scores can vary greatly from one performer to another. The thing is, some people believe that a graphic score is a kind of PRECISE set of symbols indicating exactly what should be performed. Well, that’s not my idea of musical indeterminacy. The beauty lies in allowing interpretive freedom and giving weight to the performer(s).

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.

Hi I think it's a very interesting piece with an intimate feel to it, which I really like. When it comes to graphic scores like this, I don't have much to say because everyone interprets and works with them however they want. For me, that's an added element of interest.

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

Not sure where you're based. In the US, courts require "meaningful human authorship" to claim copyright, not just human contribution. You did not author the final product, just the prompt. It is possible to claim copyright to your part, but not to the final recording. Suno may have granted you commercial license rights if you paid them extra, but that is not the same as being able to claim copyright. Also, after listening to music created with Suno like this, I'm always less and less worried about AI music taking over. The use of kitsch and corny elements are through the roof, seem to have no relationship to the genre/style of the original concept, and have a redundant, non-developing form. "In my AI ethics course, any user that creates with AI is the sole author." - I am quite curious as to what sort of unreliable AI ethics course would be promoting this, as it's standard knowledge that all writing, graphic, and musical LLMs are only possible because you are not the sole author.

Civilization 5 has some pretty sick music. This is one of my favorites.

Hello, This is such a delightfully bizarre piece. You got such a great touch...to make dissonant things sound good. Bravo. When I first listened to the piece, I didn't really get it. But the musical idea was memorable and stuck around in my head. Returning back after a few weeks, and I don't know...I think I get it a bit more now. My fav part is at 0:11. Those doted notes. I actually typed this comment, had to do some work, and listened to some Bartok while during the work and then suddenly heard that brief idea at 0:11 (your piece) in one of his pieces below at 0:42. I don't think it's "that similar", but your music makes an impression...which is a lot more than I say about some other music.

Hello, I didn't read any of the preamble you provided for your music this time. I've listened to this piece on/off in the last few weeks. Like your other works, I find it very intricate. One gets the feeling like you are very deliberate about your notes. As usual, the engraving is absolutely beautiful. Is the applause at the end from a performance/is this you playing? 1:38 is very nice. I don't know why but the main theme sort of reminds me of something I might hear from a Pokémon game (ahhh I know, maybe this is not the feedback you want to hear for your elegant, pristine works!) Generally speaking I found the harmony to be a bit weird. Not in a bad way. The song comes off written in a way where it's obvious you know how to use conventional harmony. I guess perhaps you have found/looking for your voice? I can't tell just yet...probably need to listen to a bit more of your music to find out. I find that your music does tend to be a bit muted from an emotive point of view. I don't think this is intended to be a criticism...it just doesn't feel that emotional to me. I hope that makes sense. Perhaps it's a compliment? The music feels really deep sometimes, but the weird random harmonies throws me off a bit. My ear isn't really that used to all of it.

Hello, Looks like you are on the right track to composing music! You didn't really ask for any specific feedback, so I will just throw some initial thoughts that come to mind. The piece is sort of long enough (almost 2 mins) but doesn't really move too much from your chord progression. You mentioned something about "listenable". I mean, I only have 2 mins of material to work with. I hope that you aren't trying too hard to focus on playing it too safe. In my opinion, you really gotta take risks. I always remembered my second composition I ever did, I felt like it sounded weird and disliked it, but my brother really always encouraged me to go further with it, since he found it more "interesting" to listen to. Somethings to consider - adding intro/outro. Often times, adding some sort of development section really spices things up. It's no coincidence that most pop music these days might throw in a bridge right before the ending of the song. It's a tried and true formula. So yeah, I would really look at the structure of your piece, that's the main thing that really stands out perhaps as being next steps for you... One of the core compositional techniques is to be able change things. Change the rhythm? Change the chord structure? Change key even perhaps? Then you get into more abstract ideas...change the atmosphere/change the where the listener is listening/change the genre?? I hope you keep writing, cheers!

Maybe a little bit yes, I think most of what I write imitate or tries to imitate baroque style, even if I don't really intend it 😆. I didn't really knew how to write something longer/with less repetition on so short "theme", that was I think main problem here... If you could write, what could be done to achieve this, it would be very nice :)

Hey @Wieland Handke ! Thank you so much for your review! I always want to reply but I have been sick for almost two weeks (still so) and threw up twice 2 days ago, and also digging myself into Scarlatti so I am not that active in this forum recently. Whenever I write I never expect how long a piece would be, as I am not writing for any competitions/commissions. I always say that I am selfish and I always write for myself instead of any other people. I write to express myself and I will let the music grow and speak for themselves. The duration of "my" piece (if they are really mine) is not what I the mere labor barer can control. What I have to do is to make sure the music express itself out fully, resonably and coherently, with technique and care and honesty only. I didn't choose the instrumentation either; the 1st inspiration popped out during a night when I woke up from sleeping, in the sound of a String Sextet which is the opening of this piece. I have no choice but to follow my inspiration haha. I even (unwillingly and forcefully) write 6 part fugue thx to the Sextet medium, as if I write for any other medium or instrumentation I wouldn't have dreamt of myself tediously writing a 6 part fugue! This shows another aspect of how "selfish" I am as I only write for myself, I never care for the feeling of my listeners! :) I don't think of any imagery for the beginning but I think yours is an apt description of it. What I was thinking then was human represented by freaking violas immersed and resonated in Tao by Heaven (represented by Violins) and Earth (represented by Cellos), that's where my shameless subtitle "Heaven, Earth and Human" bases on. The fugue is in 26:33 of the Youtube video for the whole Sextet, or 11:53 in the 2nd movement audio. Thank you so much for listening to the Sextet and remembering the piece even it's a year ago! I really appreciate it! Henry

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

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

Fellow period composer here. Although i'm specialized in renaissance and early baroque music this is quite lovely! It's incredible what you did, the piece is quite long aswell, i have tried doing similar pieces but i always give up, seeing this makes me quite happy. Bravo!

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?

I listened to your waltz. The concept strikes me as interesting, and so does the way you work with harmony: you clearly try to move away from conventional progressions. The semitone relationship between the triads sounds interesting and vivid. But, purely in my opinion, it isn't very well realized here. If you make a signature feature out of this progression, it should be carried through the whole piece, very clearly and consistently. Yet in bars 6–7, and again in 9–10, you break your own scheme, and the piece goes from interesting to a bit dull. If you had held on to this harmonic ostinato (G minor and F-sharp minor), it would have come out much more convincing. Good luck! =)

I've updated playback now. Continuo is probably not very correct in meaning of voice leading, but it would take triple this time to do it... Also the score had some minor typos in choir words, so it's also corrected. I don't know if I should change keys for choir, so I let them stay like this for now. Waiting for further things to improve here or in next works.

listened to your quartet and thoroughly enjoyed it. It's a finely crafted neoclassical piece. You've both preserved the style and built a very clear form, which is extremely important for works of this kind.

I listened to your composition and enjoyed it. It has an interesting image, and its musical language is simple but not boring. The form is good, too: a well-proportioned ternary structure with a recapitulation. Best of luck in your future work :)

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

If you can appreciate atonal music, you might want to try listening to my professor's music. He is Serei Zsolt and he has YouTube recordings of his music. It might seem boring at first but trust me if you can feel it you will.

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

Maybe tomorrow (it’s 2 AM where I live) or maybe I won’t. A more in depth harmonic/voiceleading analysis is quite an involved and time consuming process, and I am very busy as it is. I will try to find the time though.

If you could graciously with your time outline any areas in particular where you feel the harmony is incorrect or not servicing the piece or elements that could be reduced I would greatly appreciate it. I am a young composer still learning.

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

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

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

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

Hi @PeterthePapercomPoser , What a strange sort of work, mixing modes like that. The result is however astonishing, really well thought and nice to the ear! The principle reminds me of Etudes (like Chopin's or Liszt's), complex pieces intended to "improve your technique", but which are also real pieces in themselves. So to your question: yes, I feel you've gone beyond the simple exercise, clearly. Must be complicated to learn though (due to the dis-harmonic aspect) Thanks for sharing, Julien

No, that idea hasn't crossed my mind :). Besides, I don't know the technical capabilities of the accordion very well.

Have you thought about transcribing for accordion? Mark

Thanks @Grant Weep for introducing me to this Bartok piece! I already love the Music for Strings, Percussion and Celesta and this ensemble is right up the alley of that one. I am hard pressed to find the similarity between my dotted quarter and eighth note figure and this piece at 0:42 - I had to listen really hard to even detect what it was that you meant. But I guess there is a miniscule similarity! And I'm always glad to be compared to Bartok - one of my favorite composers for sure. Now I'm going to have to check out the rest of the movements of this Sonata! Thanks for your review and recommendation!

You're welcome! I'm confident in your ability with Ai and it will be very entertaining, too! My record label creates with Ai then we reproduce it with an actual band. It's a fun process! It's interesting to see what's possible with Ai then create the human composition in studio. It's somehow meaningful in that way. Do you create live versions of your Ai creations?

I didn't really do much, and I didn't keep track of the competition. here is what I was working on, in total 2 days; 1 day near the start of the competition and I added a bit just now. was to be summer competition submission.mp3

Hiiiii Firstly, this is not 'cute' lol. I realized you definitely thought of the Rachmaninoff Moments-Musicaux for the start, that famous one Lugansky is famous for playing. (E minor one). You also used the polonaise rhythm. Nice. Next, this piece is overly forte-based, there is not enough quiet. Also, bar 39 is very good. I love that progression, but liszt would do something like Sfz there, and then the run down it starts slow but then speeds up all the way to A Tempo. Additionally, your themes and ideas are very restricted, if that's the right word, by the lack of interesting dynamics. Moreover, as someone with perfect pitch, you can really change the ending key signature as you are in 3 sharps while i heard Bb Minor (5 flats) and G minor (2 flats) I would say this has some potential, if you extended it and vary ideas, but for now, it is not performable, and even if it is playable and some distinction, it wouldn't be the best pianist experience. Good luck! -TristanTheTristan

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

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