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Ok, so to help you understand what I'm trying to say, I've copied and reworked the first 18 or so measures with tonal music theory in mind whilst trying to maintain a baroque aesthetic. Notice in my rework what I have done. This is how I would have done these first 4 bars had I written this piece. I have relabeled the Roman Numerals to better reflect the harmony that you suggested (which was simply i-V65-i). Also notice I have included dynamics at the beginning of the piece, as well as a metronome marking, and I've nixed the solo violin as I felt it was redundant. I have revised the second violins to not interfere as much with the first violins; see how they overlap much less. This provides melodic and harmonic clarity. Look also how the bass line now has the scalular run in melodic minor, which means it includes the leading tone for F-minor, making the tonic feel stronger. I also made the beginning of the 2nd bar in the bass an E-natural to bring about better harmonic clarity (dominant chord in first inversion). Finally, notice how at the ends and starts of each new measure, the lines cadence to each chord with smooth voice leading. This next system had a very nice sequence over the circle of fifths. The biggest changes I have made was to raise the leading tones, which makes the harmony clearer. I have also changed the Roman Numeral analysis, since much of the harmonies you analyzed would actually not be functional. This would simply be labeled as a sequence. The next system felt imbalanced because of the premature resolution. I decided for this example to extend the dominant pedal, and I believe it had a great effect. I also adjusted the harmony to better reflect what you implied, which would be some augmented 6 chord (your analysis said VI and then later, VIb5, however, the functionally since it leads into the dominant, it would be augmented 6. In the second one, there was no flat 5 present, instead the 5 was actually raised, making it a Germain 6 chord. In the future, be sure you understand chord functions.) Here I have continued to adjust the notes to match the harmony you implied. In particular, I found the parallel 4ths to be problematic and changed them to parellel 6ths. Finally, here I felt that the music began to lose momentum, so I simply cut out a few bars. Note the entrance of the soprano has a dynamic marking, and it appears above the music. This is so it doesn't interfere with the lyrics. Also be sure to divide the syllables properly and know that the "____" marks the ends of words being sung over multiple notes, and the "-" only occurs between syllables of the same word. Your usage of both of these is very inconsistent and unclear. And note how I simplified the line to make it slightly easier to read and sing. The rest of the piece has similar issues throughout. In terms of playability, I have already explained that the soprano is too fast and intricate and especially goes too high for this speed. Here is a great chart for vocal part ranges. choral-ranges.pdf Slightly simplifying the melody, especially removing the appoggiatura, should help. As for the violins, you mentioned they may go too high in some areas. They do not, the range is fine. What bothered me were these huge leaps. However, having checked with a violin player, these are actually doable. The changes I've made are obviously free to take what you like and discard what you don't. The important thing to keep in mind is that the music has proper voice leading, and clear harmony. My revision does improve it, but there are other ways to improve it besides what I did. Just remember to study voice-leading and harmonic function more in depth, and you'll be golden OVosOmnesReworkAndAnalysis.mp3

Pacoleo - El Castillo de La Asomada Hello. This is the first original piece I’ve composed for piano. I also mixed and mastered it myself in my DAW, so any constructive feedback regarding the composition or the music production is welcome. Synopsis: A composition for solo piano inspired by the castle of the same name, built in the 12th century. This nationalist-style piece reflects the strength and vigor of its builder (Ibn Mardanish, “the Wolf King”) by combining elements of Spanish nationalism and Islamic tradition, which are in turn embellished by impressionistic coloristic techniques. Thank you for listening.

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

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

I don't really have composition knowledge or experience I do like fugues a lot and have learned the first two from WTC 1 on piano. This is incomplete I am wondering what we think so far B Majuh.pdf B Majuh.mp3

I have things that were started and put in the drawer 15 years ago that I still plan to get back to. We are fortunate to have so much more time (probably) than composers of the past, thanks to progress in medicine and public health. Eat your broccoli, take your time, and with luck we all may eventually have a few pieces that we are really proud of.

I YT search your Professor's name and find this one: A wonderfully contemplative piece! Not that atonal to me haha. Henry

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

@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 :)

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

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.

https://www.carolynmillsharp.com/resources/Writing%20For%20The%20Harp.pdf https://www.harpinsideout.com/composing-for-the-harp?currency=EUR

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

Here are a few more that might fit the bill: Joep Beving Otto Totland Hania Rani Joe Hisaishi (The piano version of his pieces) DeLange Sofiane Pamart Dmitry Evgrafov

What's your favorite album ever? If there are several, list as many as you like.

Blurryface by Twenty One Pilots Thanks for the Memory - An Album from the "Great American Songbook" by Rod Stewart (a lot of cool really old songs on this one) Both of these albums really helped me get through a tough time while I was in the mental hospital - I listened to them almost everyday since someone just happened to download them onto the public computer (which wasn't connected to the internet at the time).

To me, this is always a masterpiece of film music.

It's been a while since I've composed anything, so I felt like getting back into doing some Persichetti composition prompts. I am now on Chapter 8 of Persichetti's "20th Century Harmony" which is titled "Compound and Mirror Harmony". The particular prompt for this piano piece was "8. Write an opening section of a two-part piece for the piano employing two symmetrically invertible scales. The mirror writing should be kept strict throughout." So I tried to do just that with this ~1 minute long piano piece. I tried my best to make an actual piece of music rather than an exercise, but let me know how I did! I'd appreciate any of your comments, critiques, suggestions or observations! Thanks for listening! Here's the form of the piece: A - Right Hand - C Mixolydian, Left Hand - C Aeolian B - Right Hand - C Ionian, Left Hand - C Phrygian A Persichetti Exercise 8 - 8.mp3 Persichetti Exercise 8 - 8 Score.pdf

Truly one of the most stylish pieces I have ever heard. It is so bold and unusual, yet at the same time incredibly stylish and unique. I genuinely loved it. Bravo, my dear friend!

Hello, yet again with another prelude... GAWL aren't you sick of them yet?? Anyway, this one flirts between Db and C#m. It's 6 pages, but not that long as far as measures. It's grandiose, yet soft and subtle. Unfortunately, the midi doesn't do it justice. The arpeggio measures don't hold the first chord/low note in each one, but hopefully the score paints the right picture. I think it's due to the amount of notes held with the sustain. I hope you enjoy this, and any comments or concerns are welcome. :) Prelude 18 - Db.mp3 Prelude 18 - Db - score - Full Score.pdf

Hello my dear friends , This Allegretto is a heartfelt tribute to my beloved Franz Schubert, whose music has been a constant source of inspiration and admiration. Through its lyrical character, harmonic colours, and contrasting moods, this piece reflects my deep affection for Schubert’s musical world and the profound sensitivity that makes his music so timeless. Though written in my own hand, it is offered with gratitude and love to a composer whose music continues to speak directly to the soul.

One practical thing to add for the orchestration stage: ranges. They're in every one of those books, but they're easy to lose track of once you write in a notation program or a DAW, because the samples will play notes no player would give you. The usual trouble isn't the outer limits but the edges of them: a horn sitting high for bars on end, a bassoon parked near its top, a flute low and quiet under brass where nobody will hear it. Writing mostly inside each instrument's practical range and keeping the rest for special moments is a good default while you're learning. I made a free range chart on my site with full and practical ranges for 28 orchestral instruments at sounding pitch, and you can drop a MIDI file on it to list every note outside either range by bar and beat: https://modwheel.net/tools/instrument-ranges

Suppose a cue must finish within 90 seconds, including its final decay. Would you calculate a tempo adjustment from the entire file, or reserve time for the tail and measure the musical section separately? When would you prefer to revise the ending or render the cue again instead of stretching the existing audio?

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

Hello. This is my first post here, presenting hopefully the first of many sacred solo motets and religious pieceso vos omnes sheets.pdf. I am very inspired by the italian masters Antonio VIvaldi and Federico Maria Sardelli. This is a sacred solo motet for soprano, strings, and continuo based on the Latin Vulgate translation of Lamentations 1:12. I really wanted to capture the raw and shocking horror of the suffering and death of Christ, the Son of God for the sins of men. The same shock that Dell'Arca captured so masterfully in his statues of the Lamentation for the death of Christ. Hopefully my work has served that well too. O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus. Atténdite, univérsi pópuli, et vidéte dolórem méum. Si est dólor símilis sícut dólor méus. English Translation: O all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow. Pay attention, all people, and look at my sorrow: if there be any sorrow like my sorrow. O vos omnes- M.M..mp3

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

"This is one of my adagios. I’m purposely not posting a YouTube link and sharing a Spotify link instead, because I feel that this music doesn't really need visuals and it's better this way. The translation is not mine as I don't speak English, but I hope my thoughts are conveyed accurately. "For those who don't have access to Spotify, I am uploading the MP3 file here." B1 (Op.39 Adagio E-moll).mp3

thank you！

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.

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.

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!

Hello, They sound real nice. Sort of feels improvisational, reminds me of something that I might hear in an indie movie or something. Felt a bit cheesy at times, but not in like a bad way, you know? Good cheese.

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

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?

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

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!