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It has recently come to my attention how some composers approach their music-making very technically - labeling chords, roman numerals, showing modulations etc. But this kind of approach is very much the opposite of how I write music. I studied all those technical aspects of music as well of course. But how I make music now is very much based on my gut feelings and intuition rather than technical rules. I am still tangentially aware of all those technical aspects of my compositions of course. But inspiration, for me, comes first and the technical understanding, after. How do you approach composition? Which approach do you value more? Technique or Intuition? Which comes first and which is secondary?

Great topic! I would personally argue the two are inseparable. Sure some may choose to emphasise one over the other as more important although that creates a false binary, and probably reflects their experience and training. Music is a form of human expression that is built upon a language that has been continuously shaped according to technical innovations, fashion and the political, economic and social conditions of the time. I'd argue that the syntax of that language, with enough training and application, becomes second nature - much like how we speak our native language. That is the intuitive aspect of producing music and which has greatest utility when producing an outline. The obsession with Mozart's compositional process, given his mythologized status, has helped us understand he produced his music by completing the outer parts first and I expect that has been the common practice across the board. Obviously, this still requires technical knowledge and proficiency in a plethora of domains not limited to form, structure, voice leading, and manipulating tonality; but is nonetheless a relatively free part of the overall process where 'inspiration' is most relevant. Much of what follows, in my opinion, is the process of adding complexity to that foundation. And this is where one's technical competencies really tend to shine: through orchestration decisions; enriching the voice leading and counterpoint between the various parts; the manipulation of ideas; and ultimately shaping of your ideas into a compelling construct capable of engaging your audience successfully. For me, the latter is often the most technically demanding, with increasing difficulty in accordance with structural complexity (compare the task of writing a conventional minuet with an opening movement to a suite in sonata-allegro form). Artistic inspiration without technical competency will have a tendency to lead to art that has 'potential' - at best - for the need of further refinement. And technically competent expression that lacks 'humanity' - so to speak - will may result in mechanical and uninspired art. AI music can sound a bit like the latter. There is a useful analogy that likens the depth of knowledge in music theory to that of an iceberg. The deeper one gets, the more abstract the concepts. But mastery of those deeper realms will provide the composer with a wider variety of tools to apply. One cannot simply be inspired to write a 4 part fugue; they would not get very far if they tried...

Hello @PeterthePapercomPoser! Let's see, by "technical composition," do you mean things like deciding beforehand to resolve to a major chord here or using a diminished chord there to create a darker mood? Or perhaps composing using mathematical formulas? In any case, I personally feel that it’s best to use whichever approach fits the moment. For instance, even when inspiration strikes, I often fail to give it shape because I lack the necessary skills. At times like that, or when I have no inspiration at all, I’ll compose based on technical principles instead. Sometimes that process sparks a new idea, and the reverse happens too. Of course, if you consider a technical breakthrough to be a form of inspiration itself, then we’d really need to clarify our definitions, though perhaps this isn't the place for that. Sadly, I’m not a gifted composer, I just do it for fun, but I enjoy both methods because each is important and has its own unique appeal. Personally, I find it satisfying when I start with technique and end up creating something that matches what I envisioned. (And sometimes, creating something unexpected too!) Best, Lithl.

I really liked the replies and I couldn’t agree more. The ultimate purpose of music, as has been pointed out, is, I believe, to evoke emotions, whatever they may be. And taking it to extremes, whether one relies solely on inspiration or bases everything on theoretical and technical considerations, the result will be ineffective. I don’t think there’s a single composer, including in pop music, who has achieved any real success by relying predominantly on one or the other. Many pop musicians don’t have much technical training, but they have teams behind them who make up for all that. Relying solely on inspiration and intuition is like a surgeon who operates with great talent but knows nothing of anatomy. Conversely, an anatomist cannot operate on the basis of theoretical knowledge alone. These are inseparable aspects for any composer of even the most basic calibre. And as has also been said, ultimately it becomes a naturally interwoven process. The idea, the inspiration, can come from a great many sources, but technical knowledge allows you to greatly improve the result in every respect. I also believe that, nowadays, many composers are eclectic and draw on elements from various musical languages, depending on what they think will work best for what they wish to express. I don’t know – the broader the range of resources, the more varied and better the results can be. It’s like being a chef with 10 ingredients or with 100.

@Henry Ng Tsz Kiu Thank you for all the insightful feedback! Definitely agree modulation could be cleaner especially and some small mistakes with voice leadings all around. Still am very new to writing long form , but am currently working on my second sonatina and I am kind proud of it so far haha Really looking forward to hear what you think of it! Especially since I felt a lot braver than my first work so i took more risks which I'm sure will also result in more things that can and will go wrong haha. Once again , appreciate your feedback! @Kvothe Appreciate the feedback! Definitely agree with overall comments. I think a lot of issues that are apparent here are being solved in my next work which i hope to finish in the upcoming weeks!

hello folks, while I'm working on some exciting big projects, I found this absolutely heart-gripping piece by Sibelius. It instantly found a deep part of my soul. I wanted to arrange it as some parts could be instantly imagined in my head. Some others where hard to execute with such beauty as the original performance, but i wanted to try. Original: https://www.youtube.com/watch?v=vD7jiXWqhPs Arrangement:https://youtu.be/vZcKCGwQsrA The Spruce.mp3 The Spruce.pdf

An interesting question. I think that, nowadays (or for the past few decades or so), even as a professional composer, it is almost impossible to develop a unique, new and personal style. I believe very few in history were like that. Bach, Wagner, Debussy, Schönberg… in the 20th century there are perhaps more: John Cage, Messiaen, Bartók… But there are other composers of equal or greater calibre who did not introduce ‘revolutionary’ new ideas, yet who took the music that was developing at the time and made it evolve and grow. These composers also have highly recognisable personal styles (Mozart, Beethoven, Verdi, Puccini, Brahms, Chopin, and many more). We currently face a ‘problem’: we are familiar with a vast number of musical languages and systems that emerged in the 20th century, and there are many of them. I believe that, nowadays, a composer must be eclectic and must be familiar with as many musical languages as possible, drawing from each the elements that suit them at any given moment. The ability to combine all of this is a sign of a composer’s maturity. Very often, we stick very closely to a particular style, or even a particular composer, and write pieces by imitating them as best we can. That’s fine, but I don’t think that amounts to developing one’s own style. I see it as absolutely necessary, especially for learning purposes. Regarding the second point you raise. It’s true, there are a great many widely used techniques and other things that software programmes cannot do. Although they are gradually incorporating them. Of course, I can’t see a DAW or an editor handling random elements. The notation for this has been sorted out, but the software-based performance cannot be random.

My reason for using the English horn, is that oboes can sound quite harsh and intrusive in their low range. A bit like a duck! So I thought an English horn would have a more pleasant timbre in that range. Alex this really is a misunderstanding of how an Oboe works! Let's throw out the meme about DUCKS! The lower range/register can be as beautiful as the upper range. (just ask Dvorak). The English horn in this orchestration will not add too much. It does not have the penetration ... it is better used a solo instrument or in a small ensemble. Please no more duck jokes! Mark

Hi @MinGry ! It's a really good attempt on a Classical sonatina style and I think you capture the style. I think for the 1st movement you can pay more attention on voice leading and harmony. In b.12 the G major melody is played on top of a C major chord which would be out of style. I think the modulation to G major in b.13 is not successful because you don't introduce V/V before modulating, you are only repeating the G major chord and suddenly have the music enters G major. Usually the music either have V/V chord before getting to V, or have an imperfect cadence ends with a medial ceasura before going to the dominant key. Forb.30, 32, 34 and 35 I will have F# instead of F natural of the semiquaver figure. Thx for sharing and I will check the remaning movements. Henry

this is a bit of a vent piece and a self-soothing one. ive realized that one of my uses of composition is as means of escapism too. also keeping the titling convention of "To ...." of my woodwinds pieces. to look at your phone, to scroll through social media, to see strangers go out, doing activities with their friends and partners, to observe their poses as they look ever so content, to envy their posted achievements of their life, to fantasize how it would look like if you were out there having your own fun, to then have a dilemma of the smokes and mirrors of social media, to realize these posts are just highlights of their special days, to notice and understand their hidden struggles behind the pictures, yet, despite all of that, they still had those days. they still had the reminiscence of their experience. they still experienced them while youre here, stuck, as the world moves so fast around you, as you fantasize your own contentment alone. enjoy. feedbacks are welcomed. To Fantasize Contentment.mp3 To Fantasize Contentment.pdf

Hi again, @jejrekmek! This is a truly wonderful piece; I find myself wondering how you manage to create something so original. Your compositional ability feels less like the result of mere practice and more like an Individual ability. I really enjoyed this track, and the melody stayed with me long after it finished. The melody is catchy, yet the composition itself is musically fascinating. I take my hat off to you. Like @Henry Ng Tsz Kiu, my personal favorite part is the section starting at 5:30. The whole song is lovely, but that part really draws me in. The following comments aren't about the composition or the ideas themselves, but simply about the mixing (though I’m not particularly skilled at mixing myself, I’m sharing this from that perspective). I think the composition and sound choices are excellent. Again, this is about the mix. I have no intention of imposing my views, and the final decision is yours as the composer. There is no objective "right" or "wrong" here, it’s a matter of personal taste. I hope you’ll take this merely as a small, tiny suggestion. To make things clearer, I’ve roughly divided the song into five sections. Section 1 (0:00–3:35) I think the key to this section is "spatial breadth." You might want to try widening the sound of the vibraphone a bit using spatial plugins. The occasional noises (or synth-like sounds) might make a stronger impression if you increased their volume and panned them to move across the stereo field. However, the current state—where the sounds are almost audible but just out of reach—actually adds an interesting element that contributes to the section's mysterious atmosphere. So, leaving it as is might be fine, too. Additionally, adding a touch of reverb to those sounds and the vocals would likely enhance that sense of spatial openness. There is noticeable audio distortion (clipping) at various points throughout this section. While I am unsure if this was intentional, given the section's sense of transparency and its dreamy, mystical atmosphere, I feel the track would be more effective without the distortion. I felt that plugins such as OrilRiver, Giant Verb, DearVR Pro2, and Exoverb would suit this track well (all of which are completely free). I think the vocals would benefit from a bit more reverb and increased volume. For reference, I have attached images illustrating the spatial positioning. Section 2 (3:36–5:45) In this section, I felt the volume balance between the guitar and vocals was off. Instead of panning the guitar hard left, it might be better to position it "diagonally forward-left" relative to the center. There is a lot packed into the mix, so I cannot list every detail, but the rock guitar panned to the right could perhaps be made clearer. The right side feels a bit cluttered, which seems to diminish the impact of other sounds. Also, the kick drum sounds a bit detached (too isolated); it feels like it is playing on its own rather than as part of a cohesive drum kit. Section 3 (5:46–6:37) Personally, I like the placement of the ethnic drums. However, the sounds on the right seem panned too far outward. Perhaps you could try adjusting the angle to point them a bit more toward the "nose" (the center) relative to the listener's position? The same applies to the guitar. Section 4 (6:38–7:53) The main issue here is the vocal volume. Or rather, the entire song. Simply adjusting the vocal level should dramatically improve the overall quality of the track. Also, you might want to fix the clipping (audio distortion) occurring right at the very end, around the 7:50 mark. Section 5 (7:54–9:29) This part is good. You could perhaps raise the piano volume slightly? But as it stands, the mix doesn't cause listener fatigue. This section also demonstrates that there are no particular issues in the instrumental passages. The piece is truly wonderful, and I really enjoyed it. Finally Do you have a YouTube channel? If you can develop it successfully, I think some people would be captivated by your music. It would be great if you could establish a unique video style, much like Louis Cole or Jacob Collier. Of course, the music industry is incredibly tough, so I can't guarantee you'll become a superstar like them. That said, had I discovered you on YouTube, I would probably love your music. This is an important point, too: I’m not just irresponsibly saying, "You're guaranteed to succeed!" Luck plays a role, and please don't neglect what you need to focus on right now; keep attending to those priorities while also working hard on your music production. If there’s anything else you’d like to ask, feel free to send me a DM anytime. I look forward to your future work! P.S. I hope I didn't come across as sounding condescending. If so, I apologize. I actually appreciate your sound immensely, if anything, I might be the one who should be learning from you. Kind regards, Nd 6829.

A very pleasant sonata with clean lines. I’d classify it as early classical in style, perhaps with hints of musique galante. I think it would sound good on a harpsichord. But given that the piano has been chosen, I do think it’s advisable – as @MK_Piano rightly points out – to be thorough and precise with the articulations.

Hello, @jejrekmek! It seems no one has commented yet, I wonder why. I find this track really interesting; the unique atmosphere is fantastic. Your exploration of rhythm is excellent, and I love the chaotic vibe, reminiscent of Igorrr, as well as your sense for harmony (I noticed you used some intriguing chords in your other piano pieces, too). The way the song unfolds is unpredictable as well. I see from your profile that you're around 18 years old? It’s really amazing that you’re creating such an original atmosphere at that age. Age might not matter. However, there is one point that stood out to me: the mix feels a bit rough around the edges. I’m not exactly good at mixing myself, but let me share my impressions as a listener. Upon first listen, the volume felt too high, and the vocals were getting buried by the instruments, making it difficult to clearly hear the melody and individual instrumental parts. Personally, I think adding a bit more reverb to the vocals or positioning them more three-dimensionally within the mix would help. You might already be aware of this, but how about using plugins like "DearVR pro2" to position the sound more precisely? Instead of relying on extreme panning (left/right placement), using such tools to position instruments spatially would likely improve sound clarity and the overall mix. You might also want to lower the master volume slightly. I think your work is really original!

Hello I’m going to give my opinion on a few points, but without awarding a score. Firstly, the choice of the piccolo is a bit odd. Much of the part written for it could be played on a conventional flute. At certain points, however, this isn’t possible. One advantage of the piccolo is that, in the higher registers, it can be played less loudly than the flute. Although the dynamic markings are a bit sparse. One thing I don’t like is that the flute and viola play in octaves… two or three octaves apart. This creates a rather large and constant gap in between. Although at times it is ‘filled in’ with a note from the harp. The viola is also a bit odd because much of its part is in treble clef, which seems more appropriate for a violin. Writing for the harp isn’t easy either. Once the issue of whether pedal changes are feasible has been resolved (something I haven’t analysed), the problem is that it doesn’t seem very idiomatic for the left hand to be arpeggiating all the time. It’s an ostinato that already creates monotony. The range of the chords in each hand at that speed strikes me as far too wide; I’d limit it to an octave (for example, bar 23). I also find what happens in section B a bit complicated, where one whole hand is occupied and the other is too, doing different things. As for whether it captures the spirit of the piece, I won’t comment on that because it seems so subjective to me that I can’t really judge… I believe that a chamber piece of this style requires careful attention to dynamics, accents and balance. Best regards.

When it comes writing, I like to write from structural point of view. Think analyical as I write (melodic form, hamorny, musical form, counterpoint, etc). That way, I can try to a cohesive composition. The recent piece I wrote I went through and looked for motive i could use for ending section. :)

Alex 2 points: I assume your sore is in C. To transpose from English Horn in F to Oboe is a 5th up. If you review your English horn part that would put the Oboe in the mid-range. Secondly, you have the English horn play G above the staff ... not a low note. As per the Oboe and the problems with low notes ... which I would consider to be anything below a C#/Db you are correct. The amateurs and some semi-pro players might have difficulty attacking the notes with confidence and producing an initial soft attack and pleasant tone too. Personally, I practice daily producing soft attacks on the lower notes and I test my (handmade) reeds on such an attack. So much skill: air support, embouchure, coordination (tongue, breath, fingers) all impact on the low notes. So you I guess you have to know your players experience level. Now having said this .... I really don't like composers who do not appreciate and who write melodic lines etc. for Oboe without understanding the skill level needed and/or the context written for those low low low notes. Oboe is a challenging instrument ... one you both love and hate at times! And don't let me start on the reeds .............................. Mark

When it comes to personal style, as a composer, it is hard to describe what that style would be. Yes, I compose ensemble pieces (rather solo or chamber) or full orchestra, too. However, period style is not going to be same. The term best fits me is "polystylist". This means I could possibly write in different styles. For instance, my Halloween piece was written for string quartet but the style 20th century. (note; I could have written a serialism written for that competition...). Currently, I working piece that sounds neo classical for the next competition. Joe Hirashi was the inspiration for the piece. My personal taste is open book. Heck. George Leigti works are always fun to listen to. And who does not want to listen a post tonal composition that has clusters and other modern jazz. :) The problem is...midi can not play back alerotical boxes and clusters. Only live musicians can. Thus, that is what trying figure out, next. How to have play back in score. (maybe use a daw?)

Thank you very much for your thoughtful feedback. It was incredibly helpful.

Hello I’d like to comment on the first piece. I think it’s a very interesting, beautiful and original work. The impression I get is that in some parts it’s as if you had two separate works (the choir and the string quartet). In the first section (which is then repeated), some of the lines played by first and second violins become very active and chromatic, and either get a bit lost, or I don’t feel they quite fit together. I think section B is more balanced in that respect, as the strings tend to underline or accentuate the melody more.

Hi @MinGry ! I will continue with my comment. In the 2nd mov, there's the same issue with modulation as in 1st mov, which is you don't have the dominant preparation for the new C major before getting into the key in b.15, as mere repetition of a key doesn't signify the modulation. The harmonic progression for b.16-23 is I-V-IV and then back to I, which is not in the style with the V followed by IV. The IV will be better substitued by a ii-V. For the 3rd mov, the rhythmic drive is nice. B.12-15's bassline and b.68-69 RH have too many parallel fifths which will be out of style. The contrasting G major passage can end in perfect cadence before going back to tonic C major. Thx for sharing! Henry

I've also read from several orchestration books that the lowest register of a double reed instrument including oboe, English Horn and Bassoon are all more difficult to control, and it's much more difficult to play lower than mp in the low register. Given the ethereal mood of the piece I agree with your treatment to use English Horn instead of 2nd oboe. Also I think it's quite common to have at least 1 Englisn Horn in every orchestra so I think that won't be a big problem in practice. Henry

Thanks Henry! I'm really pleased you like this work, because I wasn't sure it was any good. I actually tried to use con sord. on the violins; but then I discovered the little CTRL-T speaker thingy has disappeared. So I can't access that setting anymore. Seems to be some kind of bug within MuseScore, and it only manifested after the latest update. Weirdly it's only affecting this project. When I load other projects, the little speaker comes back. Not sure how to put this right? I guess some of those notes are probably too high for the violins without using harmonics; though I haven't actually checked. Glad you like the bassoons combined with harp, as I wasn't sure about that orchestration. Hopefully they can play those big jumps across the break; but I'm not 100% sure about that either. My time signatures are a bit all over the place in this piece, and I will be simplifying those at some point. Thanks again for your review! Alex.

Hi @Some Guy That writes Music ! I am not gonna comment anything on scoring or engraving since it's my so weakness and @MK_Piano will comment on that anyways lol. I have zero experience in arrangement too so my following comment is merely subjective. I think the beginning can really be accompanied by a harp. Will you think of having the piece in C minor? Then the violins can play the melody with the lowest G, and I think that will be stronger than the viola melody unless it's played by its C string. i personally would want that intensity of tone with the lowest string of either violin or viola given how beautiful Sibelius's melody is, but it's just me 😛. I actually think of having the b.33 melody played by English Horn AND cello as well as I love the high register of cello haha. I think for the catastrophe in b.45 polyrhythm can be introduced with some triplets and sextuplets (and possibly quintuplts too) beneath the semiquaver figure as to capture that effect in the original piece. For b.59 I actually think of the melody played a single horn as in Brahms' 3rd Symphony to capture that solitude, since strings is always used before for the melody. Thx for sharing this arrangement! Also, thx for introducing this piece, it's fxxingly beautiful! Henry

Hi @Alex Weidmann ! To me this one is a fascinating work and I agree this one would be better in an orchestral setting when there are so much color available. You are very good at creating etheral color with the winds and harmonies as always. I love the color and timbral contrast brought in b.18; I'm not sure whether it will be difficult for the bassonists to play the wide leap though as I'm not familiar with the instrument. There are lots of really high notes for the strings: will you add artificial harmonics and con sordini to them as well? I think it will make it sound even more ethereal and mysterious. Really enjoy this one, thx for sharing! Henry

Hellooo, This is a very short galliard for keyboard with the diminutions written out, in a real performance scenario the diminutions would have been improvised by the player on the spot, but since i can't perform it and i don't have a harpsichord (yet) i just have written them note by note. Enjoy! LOB 107 Gagliarda Detta la Maritima.mp3

Hi everyone! I took a break from composing for a while. Recently, I started composing again, and I would like to present my latest composition, an Impromptu, written between May and July 2026. Writing this piece proved challenging – choosing the right material was an endeavor, and most of the effort was spent on completing the coda section. Anyway, I hope you enjoy it, and I would love to hear your thoughts! Carl Koh Wei Hao

Hi @Carl Koh Wei Hao ! What a wonderful piece! I really enjoy it! This would really make a very good salon piece. The atmosphere is well created. I love the piu mosso parts which is clearly very idiomatic and Chopinistic! I also like the modulations in the middle part, especially the false recap in Gb major in b.163 and a magical return to Eb major in b.191! However I agree with @Grant Weep that the climactic phrase in b.198 should sustain longer, and then have the return of the A part in b.204 to be in a louder dynamic with more exciting rhythm beneath. I love that piu mosso in b.219! Thx for sharing this wonderful piece! Henry

Hi @MrBelegro ! The xylophone is well chosen for nostalgia of childhood! I think you can add some melodic parts to the piano as well, and on top of that xylophone can play 4 notes at most at the same time so it can be an accompaniment as well. Some countermelodies can be added too to allow an interaction between xylophone and piano. Thx for sharing! Henry

Hi @ferrum.wav ! I like the fast section in the middle, and I do think the composing technique is up to your standard of your past works. However I don't know why but I have to agree with @Some Guy That writes Music and @MJFOBOE that the piece is a bit monotomous to me. Maybe it's about the colour thing: previously your marvellous works are all orchestral pieces so there are a lot of colour to play with, but in chamber music setting you have much less color to change and have to focus much more on the overall structure of the piece. Although one thought is that the repetitveness and monotomy of the piece represents how the daily life works. It's my subjective comment of course and nitpicky tho =.= Thx for sharing! Henry

OH MY GOD !.........................I only saw a tarot reader a couple of days ago,and this card came up.

Thank you so much once again, Henry, for your beautiful comment and for listening so attentively. Your references to Schumann and to Last Year at Marienbad — a film by Resnais that I have long wanted to see, but have not yet had the opportunity to watch — were both flattering and deeply meaningful to me. So thank you as well for pointing me in that direction. My intention was indeed to follow as closely as possible the dreamlike path of a love that never truly came to life. As so often with Laforgue, everything unfolds in an ambiguous space, made up of appearances, half-truths, and the strange feeling that the beloved may exist only as a memory, or perhaps only as a dream. The ending seemed to call quite naturally for this musical treatment: the poet evokes the lost beloved — or perhaps love itself, who knows? — while life quietly continues its indifferent course. In French, Laforgue’s language has a very particular flavour, constantly oscillating between sublime images — “the eyes are azure carnations,” “the innocent mouth,” the elusive woman whom he tries to follow — and the wonderfully prosaic final line, “I shall go home without dinner,” which suddenly brings everything back to ordinary life. As for the orchestration, I wanted something as ethereal as possible. The harp seemed inevitable, together with violin "fragile" harmonics and a constant alternation between solo strings and the full ensemble. The ternary, circular motion also seemed essential to me: it continues endlessly, because life itself never stops moving forward, while the poet remains motionless in his grief. In any case, I am very happy that both the poem and the musical response I tried to give it were able to resonate with you.

well that was beautiful. I find myself most partial to the end of the piece, I found myself really desiring a longer phrase, so it was nice when one finally came. I will agree with MJFOBOE that the oboe part did get a little repetitive, but considering the subject matter, and the beauty of the ending as a result of that repetition, I would say it was acceptable. Also I think the MIDI made the staccatos a little extra piercing so I noticed it every time. Regarding the subject matter… real. It’s so hard to keep working to improve yourself and your position in the world, but remember hope is a weapon. I believe in you and your beautiful music.

Yeah I sang it in a school choir… a freakingly fascinating experience! The piece is basically about the wheel of fortune… how different things appear in life and how the fortune destroys them all without mercy, without preference, somewhat like Lao Tsu’s Tao.. Henry

This is a very lovely work which reminds of the Poulenc Oboe Sonata The piano accompaniment is very effective. The initial theme lovely; however, a bit repetitious (even with the challenging piano movement underneath). From a technical point of view - no problem for the Oboist here. https://www.youtube.com/watch?v=9hgiP3XLKQ8&list=RD9hgiP3XLKQ8&start_radio=1

Hi Alex, Very interesting harmony and movement. My only comment is the orchestration: Instead of doubling for example the Oboes why not give the second Oboe the English Horn line. Similarly, I would also move the Bass Clarinet to the one of the Bassoons. I don't really feel you need the need them in the orchestration. Mark

Hello, I also believe that no 7 is the best one. Maybe it's the first few notes...it just sort of...works for me. So maybe I like it for a different reason than Henry. This is me personally speaking as someone who is trying to get into some more modern harmonies. Perhaps no7 had a bit more "solid ground" for me to stand on harmonically. Someone recently introduced me to Schnittke...his klavierquartet. Your piece felt a bit easier to understand and listen that the Klavierquartet, lol. But yeah, I love how bare and cold it all sounds. Love the title - glass shards. What happened to no 3? =O

A fantastic little piece. The harpsichord is an instrument I really like.

Thank you for offering! I inteded this to be played on a italian harpsichord, and yeah i know about the manuals and stops, i'm a harpsichordist myself. It would be lovely if you could play it, because the harpsichord i play on i have access to it only once a week.

You’re welcome! Depending on the notation software you are using, there should be ways to get rid of excess measures or bound measures to a system. I had to spend some time on my own with my software just reading the handbook or shortcuts for this stuff lol

Hello M.K Piano, Thank you very much for the constructive feedback. I have tried to correct the score accordingly. Unfortunately, I was unable to successfully shorten the final bar. I must admit that some of these errors arise repeatedly because of the formatting, such as the incorrect ties on the pedal point. Thanks again. Fantasia with a change of mood new version.pdf

well less than a month later, i finally had the chance to comment on the piece more it definitely sounds operatic. i could definitely see this being like one of the first numbers of an opera. i could also imagine the orchestral sounds coming from the piano. the piece fits the text well. i like the subtle harmonic changes when the text sings the notice of a change, it feels like the desire to comprehend the changes around them. its gradual as well, from a month, two months, four months, as it leads to a climax. i like that the question at the end is cleverly treated as a punctuation, both in the music and in the text, before the final cadence. i like the sketch as well, its definitely virtuosic but i like the effective use of the piano figure as it travels to different harmonic context. the little introduction before the main stuff is also a good contrast to accentuate the preceding section. thanks for using my less than desirable poems lmao, and writing a little sketch dedicated to me!!

@MK_Piano Appreciate the feedback and the time! Definitely agree with the more active recap. I am still struggling with writing longer lines that I feel would give me a lot more space for expansion compared to my short cell approach. Funny enough, you mentioned the sight reading confusion with the key change. I try to be very mindful when I write to make everything very readable and in my head I thought the key change might help to understand where the structure is, but I totally see your point that for sections this small, it will just create more unnecessary information that might be a distraction. This is super helpful information because I want to create a compilation of sight-reading material for beginners progressing to an intermediate level. @Luis Hernández Appreciate the feedback and the time! Articulation sometimes is a struggle for me, definitely should be more firm with it.

Hello MK_Piano, Thank you for your response. I agree that there are a lot of musical ideas throughout the movement. The introduction, for example, is a continuous flow of ideas that eventually leads to the slow march-like melody. I believe the A theme returns effectively in the recapitulation. As for the B theme, I reused some motives from its first appearance, so it is perhaps less obvious that the fast E-major section represents the B theme. I must apologize for the improper use of the tempo markings in the score. Those were mainly intended to improve the MIDI playback and would certainly be revised before a live performance. I really appreciate your feedback, and I will definitely work on these points. Thank you!

Agapē Agape.mp3 christmaker (mp3).mp3

Have you ever wondered how composers write music for sneaky thieves, clever characters, or playful comedy scenes? In this lesson, I'll show you a simple approach to composing a mischievous orchestral theme using melody, harmony, orchestration, and rhythm. You'll learn techniques that can be applied to film scoring, animation, games, and character themes.

Hello! On first glance at the score, no, it is not suitable for piano performance. Mainly caused by the page layout and measure size. Below, I have attached some annotations for you and a separate PDF of what is normal to see for a pianist. (Girl with a Flaxen Hair by C. Debussy) Photo.pdf Tristan - Revised Fantasie [ANNOTATED].pdf

Wow! What a cute piece of music to have listened to. Very reminiscent of classical style and a treat to come across. This said, I do have some comments regarding the work; partially with engraving and partially with the music/form. Engraving: From what I can see, everything is playable for a pianist, and with this style, or earlier, I would put more articulation marks like slurs or staccatos. It will help us understand the dance-styles better throughout the work/ see the phrase ideas more clearly. If I were to go and play this at my piano, I would approach it as a Mozart keyboard work and focus a lot on phrasing and articulation. For my preference, since this emulating classical style, I would also use classical dynamics (p, mf, f and ff) versus mezzo piano. Form: The thing that stuck out the most was not the musical content or the form per se, but how you notated each B-section in the first two movements. While Mozart did add key signatures for some developments within his sonatas, I do not think it is necessary to change the key signatures in each movement as they are so short. (Of course, change the key sig on each movement however) This is not a challenging piece in the catalogue of piano repertoire and if I were to give my students this to sight-read, even they could get thrown off by the signature change. I think it would be better to remove the G-major signature in mvt. 1 and keep the sharps explicit. Same in mvt. 2 with the C-major section. Lastly, I do think in terms of musical content, you can mess with a more active recap (or final A in the rondo form) in each movement. Simply hearing the themes again without a change in the harmonic scheme or texture in a big way leaves each movement as a little lackluster; at least in the way they end. Here is some food for thought and I’d be curious to see what you can come up with in the future. Good Job!

Hello, what a lovely little work! Did you intend for this to be played on the specific type of harpsichord (French or Italian)? Depending on the builder, you can have two manuals and most come with a lute stop. I have two I can access at my university and can try it out sometime within the next two weeks. :)

Thanks! I want to be able to give feedback like you one day!

Hey y’all! I hope you are doing great. A couple of months ago, I was asked to write a string quartet for the University of Michigan to perform. Though many other composers also premiered their own works, I could tell in rehearsal with these string players that there was so much fun to looking into something more conceptual, though I tried as not to make it too contemporary. I also got to speak with the composition director at University of Michigan Dr. Roshane Etezady, who’s a wonderful sweet person as well as some conductors and composers. It took about a month to write, and with only 6 minutes to write I had to shorten a lot because I was so captivated by this opportunity. Thank you for listening and feel free to check out any files or anything! I have a YouTube and an Audio.com, but I would keep to the YouTube, I upload more often. YouTube Link: File: https://drive.google.com/file/d/1zsbitZUELu9KCGlhchJqwqhDEUSNZvEv/view?usp=drivesdk