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Hello! Over the last few days, I’ve listened and looked at the score quite a lot. I felt it within my interest to analyze the score. The attached PDF is culmination of my annotations and comments. If you have any questions, I’ll do my best to answer! Good work! A. Ko - Poem for Orchestra [ANNOTATED].pdf

Hello everyone! I come to you with my first piece produced on my new Acer laptop that runs Musescore smoothly! I have taken the opportunity (before I always had a school chromebook so I couldn't do this) to download Cakewalk Sonar DAW which allows me to open all my old .wrk project files from back when I was using Cakewalk Home Studio over a decade ago. So, if you can't tell by the title, this is one of my juvenilia that I dug up from way back when I used to compose into the sequencer. Back from around 2008. I intended it to be a mix of styles between classical and jazz, hence the corny title 🤣. I use blues scales, extended harmony, altered chords and polychords - all in a way that is intended to be "classically jazzy". I hope you enjoy this piano trio and let me know what you think! Thanks for listening! Jazzical Piano Trio.mp3 Jazzical Piano Trio.pdf

So....wow....I like this...a lot. A lot to dissect. Okay, here's the thing. As much as it pains me to say this: This instrumentation isn't realistic. With that being said, this can be something special. I would say: go ahead and have the full string section. That would further give this a chance to get played. It would also give your bottom more depth. With that also being said..this is. astart: you have the making of either a tone poem or a flute concerto of some sort. I know you said you wanted to write short simple pieces. Problem is, what you wrote wants us to hear more. The reality is, no one is going to program this while paying a full orchestra, especially the strings. Sorry, you wrote such a great piece thinking this was it? Nope, you got to write more...you have at least seven more minutes with this....maybe 10. FLute: M13: get rid of the slur. breath should be before Eb5. M14: Phrase marking on Ab4 should go to M15 and end on the Bb5. The next phrase marking starts on Db6 and end on the F5 of M16. Meas 20, the phrase should end after the Eb5. Also, get rid of Flute 1. It would be just Flute. HARP: Unfortunately, your beaming is off some. When you write octaves, the harpist would automatically switch hands. The lowest note would be played with ring finger and the octave would be played with thumb (we don't use pinky in harp). Therefore, the right hand would automatically have to play the next note. I know you were for the automatic three in each hand, but ergonomically, what you wrote wouldn't lay like that in some spots. M10: Perfect example. You could do 2 in the left hand and do 4 in the right. The other beats however do work. HARP PART 2: You stay in the throat register the whole time. You could expand the "breath of the music by having harp continue the run by repeating in the higher octave and maybe at times another octave. The harp's rang is VAST. Harp part 3: Give the harp a final not on the down beat in the end. MAYBE have the harp repeat the previous measure but play it up an octave? Put in your notation program just to see. Special note: Maybe add a clarinet also so you could keep the strings as your lush padding and you could play with harmonies with it...or countermelodies. Ravel LOVED doing that. Extra Special Note: Speaking of Ravel. I wonder how this would be for Alto flute? Maybe have it optional for Alto Flute. My $0.02

Oh this is fantastic!! I don't have any critiques really, your dynamic contrast and harmony throughout the piece is very nice. And it moves very smoothly and logically. I would love a copy of the score if you do decide to share it - this is the kind of piece you start air-playing when you listen to it (you'll get it since you're a pianist).

Nicely done...I would do some research into the form of sonatinas and their form/structure. Other than that, I think this is a great first attempt - I sat down and sight-read through it and it's very easy to read, which makes it more approachable if you were wanting to distribute the piece for educational purposes (sorry, piano teacher brain taking over lol!). If you add a second movement, please post it so we can hear both together.

Hi everyone, I recently completed a draft of a short symphonic poem, after a long period of writer's block and not writing anything. I haven't put all the finishing touches on my scores (divisi, part divisions, crescendos are all lowk messed up etc.), but I would really appreciate feedback/suggestions relating to development and harmony. I'd also appreciate knowing what images, if any, it conjures up for you as you listen to it (I'd like to figure out a more evocative title). Thank you for your time :D! Poem for Orchestra.mp3 Poem for Orchestra.pdf

Hello again, I decided to spend some time today to give more specific feedback. In this PDF are some annotations for you: H. Zheng - Dawn and Nightfall [ANNOTATED].pdf

Welcome to the forum! Let be one of the first to say hello and congratulate you on this endeavour. All of us know how hard creating a convincing and satisfying piece of music can be, let alone an original one! You are off to a great start, one of which not all adults can do. I enjoyed listening to your piece. This said, I do have initial comments and a deeper set of specific annotations I would like to share later. Here are my initial comments: The ensemble balance is too similar for too long. Violin 1 & 2 dominate the piece, and the other strings just act as support versus having a convincing conversation/ role in the piece. Use of whole notes is more than okay. If you like it, then keep them! This said, having a lack of pulse in the texture can make the music feel stagnant. Some of the other comments you have received may have been coming from this angle. To add, since the violins dominate the music over the course of 4 minutes, it makes the listener "zone out" as nothing major changed to their ear. Do not forget about slurs! As a string player, remind yourself that the use of a slur conveys bowing information. Even if you are not as aware as the other bowing styles, using slurs is a great way to showcase bowing information. The context of the music will inform them whether to up-bow or down-bow. Creating motion. To help the "stagnant" nature of the piece, one way to create motion is this: When the melody is slow, move the accompaniment. When the melody is moving, slow the accompaniment. Doing this will help drive the piece forward in a simple manner. Using rests for effect! While Barber's Adagio for strings is wonderful, remind yourself that even in such a thick and lush piece of music, he used silence for effect. Not all instruments need to play at the same time, nor do they always need to play in the same octave. You have the whole string section to move and pass ideas around. Strings can do double stops and divisi playing. It's another way to create an effect as using silence will elevate the moments you use all the sounds or all the instruments. Keep up the good work!

Good luck! That's a very good one. I’ve been thinking about the comment on the role of the contrabassoon here, following on from what’s already been said. I understand that you’d like to use the woodwinds as a bass line in those sections; that’s simply a matter of timbre and so on. Although I’m a firm believer in absolute freedom when it comes to composing, it’s true that I also bear in mind certain general principles. One is the ‘economy’ of instruments. Although I’ll never have a symphony orchestra or anything of the sort at my disposal, I do like to write as realistically as I can. That’s why, if the parts for one instrument can be played by another, I don’t use it. The other principle is to double the bass (an octave up or down), and I notice you do this. This is something I was taught very early on. And there’s a reason for it: the low register is the least audible to our ears. There are exceptions, of course: when the orchestral texture is very light, it isn’t necessary. In this piece, most of the notes for the contrabassoon can be played by the bassoon. Let’s say up to the low C (B flat, actually). To put it another way, I might have used the bassoon for that contrabassoon line and supported it on the lowest notes with the tuba or the double bass. There are sections of the contrabassoon part that can be taken over by bassoon 2, for example in bars 22 and 24. It’s true that the bassoons are in part 2, but it isn’t necessary (with those dynamics – diinuendo and ppp). Well, anyway, that’s just my opinion, based partly on how I learnt it. I was taught that instruments such as the contrabassoon, the bass clarinet, and even higher-pitched ones like the piccolo, were there for when the standard instruments couldn’t play the parts. Sometimes I’ve been guilty of wanting to be too literal when transposing a piano piece for the orchestra. But I’ve also realised that there are times when you have to take certain liberties or make changes to adapt the sound to the orchestra. Best regards.

Alex, A lovely orchestration, though, I have some questions in the selection of the English Horn; especially in the lower register ... the actual projection may be more covered in the ensemble. Mark

Hello Everyone! I am here to share my newest work titled "Dear October...". Commissioned by my sister for the use in her wedding, this short work is has become a personal favorite. It had to be short for timing use during the ceremony, however, I find myself bleeding to write more. This said, if you want to find out more about the work, go to page 3 and read the "About" section. Thanks for taking the time to read this post, view my score and take a listen! (If you have any comments, both good and constructive, drop them in the comments!) [July, 2026 - Updated Score PDF] Chmbr- DearOctober.mp3 Chmbr- DearOctober.pdf

I'm so glad that I was given access to this score as it progressed, via DMs. Oh how much it has changed since you presented it to me, and in so little time! There was One point of contention that I had about this that I wasn't able to flesh out to you, when I heard it. And it's not that it's anything incorrect or bad per-say, just something that no matter how many times I listened back to it, it just never sounded right to me.. lol if you'll refer to b.26-27, where you chromatically move the harmony and chord progression down, and in b.27, the last 2 beats are on 1 (A maj.)... Something about the transition between Fdim/G# to (I think this is G#m7/F#?) just feels jarring, to me, and comparing those two chords to the rest of the piece, I feel, personally, that it stands out in a not-so-smooth kind of way.. So, below, I have written out a version that I think would help it, in my opinion, to sound less jarring and more smooth, without changing anything too drastically, and have also attached an MP3 for sound reference. (for the ease of comparison, this moment happens at about 1:28 in the original audio above). Untitled score.mp3 In my example, I've, instead of going to the chord you'd written, I just pivoted Fdim/G# > G#dim > A Maj > E Maj G#dim being the only change applied, here, along with a change in the viola's harmony. Overall though, I LOVE this score, and what story that you were telling with this one. It really hit me in the chesticle, in a great and relatable way. Had me over here reminiscing over things in my past, and longing for what I no longer possess.. Which, while that's saddening to me, it's what the essence of this whole music thing is about... creating art that is able to illicit that in someone is just an amazing thing, don't you think? -Unc

This is such a wonderful piece...I agree with the above comment about the length of the piece. It's the perfect length for the occasion - the piece itself feels like it's telling us a story, but it's just a beautiful beginning (again, perfect for the occasion). Your treatment of the strings and the way they interact with the piano taught me a lot. When you pass the melody, it's not jarring, but we'll thought out and smooth. I'm sure your sister and her fiance will love the piece. Bravo!! 👏🏾

Congratulations to your sister on her upcoming wedding!! She is sure to be so happy to have a sibling who can write such a wonderful piece of music for her. Above all, the fact that she asked you herself truly shows the deep trust between you two. This piece is lovely, and I can really feel how much thought and care went into creating it. Also, regarding the A-flat around 1:28, hearing that note appear within the overall diatonic harmony, and then watching it resolve, felt like it was telling a story. It was memorable. I think it’s wonderful how it emerges without being too jarring, maintaining the calm and gentle atmosphere of the piece. As for the length, I personally feel that this shortness has its own story, fitting beautifully for a wedding. Sometimes, a length where you feel inspired to add more, and the listeners wish they could hear just a little bit more, is right. Of course, that is just my personal opinion. It really is a beautiful piece of music. Best, Lithl.

Hello my friends . Here my latest binary Sonata no 25 . I hope you like it

My dear friend, thank you so much for your kind words. You can’t imagine how happy they made me. What especially pleases me is hearing comments about the natural flow of my music—that is what gives me the greatest satisfaction as a composer. I would be more than happy to send you the score, but first I need to engrave it properly in Dorico. Once again, thank you for your generous comments and for your appreciation. I truly appreciate it. Take care, and as soon as the score is ready, I’ll be delighted to send it to you.

Nice: I have listen a lot of pointers since this is a big-band piece. I am a self-proclaimed Basieologist and I love this stuff. This is all to help. Take my critiques with a grain of salt: Plunger is written with o and + , o = open), and + = closed. Think about doubling them with the trombone (makes it tighter). Also, we don't use "normal." You actually don't need to write anything, but if you must, you use "open." Also in Jazz, the "&" beat are played long. You'll be hard pressed to find a jazz band that will play the & of 4 short. It's just not jazz and it doesn't swing. Same thing for measure 24. It would be played as short long instead of long short. it's like saying "apartment."" We don't pronounce it "AYpartment" or "apartMENT." M56: It's better to write it as 8th Quarter 8th. That's the aforementioned of the standard swing feel. It is always played, ba-dum-BOW! M61: No need to write duples. Write "straight 8ths" Some of the piano part won't swing having those blocks go for so long. 6ths would work. But once again, You should probably have a chord chart OR write a guitar part so there is some chordal comp. You already have it in the saxes. No need to double. Let the piano swing and do its own obligatos. For the rhythm section, write the chord changes. NEVER write a specified note part for a jazz bassist, unless it's for transitions, setups, or melodies. M29 is a great example. Also, no need to double piano with the bass. here's an example of how laconic Basie's comping is but the saxes are still playing lines! I also attached some of the parts so you can see how the best ever did it. My $0.02 Basie Straight Ahead Alto 01.pdf Basie Straight Ahead Bass.pdf Basie Straight Ahead Drums.pdf

I decided to not waste my life and compose something*. Sibelius crashed so I used musescore. This song is meant to sound not evil or phonk. I spent around idk like maybe 30-40 hours on this piece in total? I tried to use some "counterpoint" but since I am not good at music theory I have no idea whether I did it correctly. I used caesura's 3 times in total. Again I don't know if that's correct or not. Also, some voice crossings are in there, but I couldn't find it. I honestly have no clue how polished the piece is, it's one of my first 10 pieces. I started it in like 8th grade and finished it this summer (going into 9th grade) in case anyone decides to comment on how dogwater my skills are. Also, first time using tremolo in any piece. I play violin well, CM'd like 2 years so I'm PRETTY sure the violin portion is playable and well, but I have 0 clue about the other parts because I don't play any of the other string instruments. Most of the song is in the last part.... another issue probobly That said, well, I would like some feedback. ESPECIALLY in these spots: 1. Middle section, I don't know why I wrote it but, is it fitting? It's slow and not very "elaborate" and also it's placed weirdly IMO cause it's like supposed to be in the middle, but it's also not really centered. the part after it is MUCH more than the first portion. It's like centered but not centered but also centered but technically not centered but also IG kind of centered, but like it's not really centered. 2. Whole notes. I know like barber do it often especially in adagio but a bunch of people I saw in like online threads saying like that whole notes are generally not good? IDK I personally don't mind it too much but yeah. 3. counterpoint, I feel like I messed it up bad, but then I don't know how to improve it 4. dynamics. I know there is MASSIVE room for improvement because, yeah, it's really bad Structure. I never studied structure before, so I have no idea what is what. I TRIED to use like ABA but the second A portion is very off balanced. So the structure is trash and could use much improvement Thank you for your critique in advance, and thank you for your time. *I'm composing because I broke my nvidia rtx 5090 and now I can't play games at 1000 fps so I quit entirely dawn-and-nightfall.mp3 Dawn-and-nightfall.pdf

Once again. Fine critique. I will also add, you can create counterpoint/melodies from within. Diminution would build this piece a lot!

The name is very fitting!! Your piece has a playfulness to it that is refreshing and fun. It's easy to listen to. I wonder what would happen if you gave the tuba the melody at times and used the other instruments to harmonize above it, could be especially nice with the Flute, Clarinet, and Oboe. I will also echo what @maestrowick said - the tuba can do so much more! Use it's different registers and play with the rhythm some more. Tuba, Bass clarinet, Bassoon etc are used to the one note, barely moving bass lines in pieces, but you have a chance to let the tuba shine, so let it shine. Please update us if you make any edits to the piece - good work

Amazing notes! Any I thought saying , you already posted!

This is wonderful (and I'm not just saying that because I love the piece 😆). I think you've retained the character of the original piece, without making it sound muddy or too heavy. Your doublings and overall orchestration choices seem calculated and well thought out. I think the few notation issues are an easy fix, and would make the score more readable. Good job 👏🏾

Thanks for taking the time to listen and for the feedback! I think you made some fair points that I'll definitely keep in mind for future pieces. Since this was my first attempt at writing in a larger form, I tried to keep things relatively simple while I focused on the structure. Might write a second movement for it eventually. Thanks again for valuable feedback @TristanTheTristan

Wow ty for the critique. Yeah I should definitely look into the silencing part.

https://musescore.com/user/96214813/scores/35416328 This is my set of 34 variations on the famous theme Caprice 24. It is written in a minor, and has: Allegro Theme (A minor) Var 1 (A minor) Var 2 (A minor) Var 3 (A minor) Var 4 (A minor) Andante Var 5 (A major) Var 6 (A Major) Var 7 (F# Minor) Var 8 (D Major) Var 9 (E Minor) Vivace Var 10 (E Minor) Var 11 (C minor) Tempo Primo Var 12 (Bb Major) Var 13 (B Major) Var 14 (C# Minor) Var 15 (C#Minor) Var 16 (E Minor) Var 17 (A Minor) Prestissimo Var 18 (A Minor) Var 19 (A Minor) Adagio Var 20 (A Minor) Var 21 (A Minor) Var 22 (F# Minor) Var 23 (Ab Minor) Andante Var 24 (Ab Major) Var 25 (Eb Minor) Allegro Var 26 (Autism) Prestissimo Var 27 (B Major) Presto Var 28 (G Major) Molto Vivace Var 29 (G Minor) Var 30 (G Minor) Var 31 (G Major, Alla Polacca) Prestissimo Var 32 (A Minor) Allegro Var 33, Fugue (A Minor) Presto Var 34, Finale (A Minor) Variations on a Theme by Paganini.mp3 Variations on a Theme by Paganini.pdf

Hello, Little fugue i wrote today in the north german baroque style. First musical output in years. Simple in harmony, joyful and melodic in theme and counterpoint. Scored for four voices, work well enough with organ or strings. Fuga in g.mp3 Fuga in G.pdf

Hello The important thing: a massive piece of work... Very interesting, it really draws me in, and it’s very well presented; the sound is brilliant. I must admit that variations aren’t really my favourite genre, but then again, when there’s quality, there’s quality. One thing I particularly liked is that, although some of the variations are very short, the transitions between them are, on the whole, very well executed. That gives it continuity, within the nature of the genre: variation. I’ll just mention a couple of things: One is a matter of personal taste: all those fast sections – vivace, presto, prestissimo, etc. – tire me out a bit. But as I say, that’s subjective. And another thing – this I do find a bit odd. Bars 20 and 24 in the first variation… My ears and brain weren’t prepared for that. Mind you, I’m no stranger to dissonance, but it has to be in context. Those extremely strong minor second dissonances – there aren’t any more powerful ones in the entire consonant tonal environment – sound like a mistake. If they’d been set up, if they were repeated… but like this, so suddenly and in isolation… You could have used other, more subtle dissonances here and there… Yes, we sometimes think that in music ‘anything goes’, but well, in moderation. Later on there are sections that include dissonances, but they’re well contextualised. Congratulations on your work.

Hi again, Congrats on finishing the Tone Poem. I am going to listen and examine the score once more. You are correct I only wanted to highlight the last part of the quote in regards to the leitmotif. As you highlighted ... English horns are not the same as Oboes. During a rehearsal the conductor most probably will balance the piano against the English Horn. As per me I see the English Horn as a solo instrument within the ensemble because of its tonal/projection/character. In a larger context its uniqueness can be lost as a line in a full orchestration. Mark PS: I enjoyed your pun about my criticism not being fully developed! Okay, I reviewed the work again. I am curious to know the feedback you have received from your mentor"s? I still feel the ideas move about too quickly in a thick orchestration .... I feel there needs to be room for the music to breathe to lead and give the listener a moment to connect. For me this didn't happen.

Hello @MK_Piano , It's an honor to get such extensive feedback, and I'm especially thankful for your notes on engraving in particular. As a string player, I know how much notation matters for performers, and I'll be sure to make those changes as I revise (though I don't anticipate this piece seeing a live orchestra any time soon, especially as an amateur composer). I fully agree that this piece is pretty texturally monotonous, and think that I'll need to continue studying scores to gain a better grasp on orchestration, texture, thematic development, and the likes. Thank you again for your time, knowledge, and the depth of commentary you've provided! I was wondering if you had any particular suggestions for creating more motion throughout the piece, and if you know of any particular scores/treatises that I might be able to study and make my piece more effective (I'll do lots of listening/studying on my own as well) -- I would definitely like to develop more robust parts for the brass and other areas that I haven't quite done justice.

Hi to all, Just wanted to post my latest orchestration attempt. It's the prelude from Cesar Franck's "Prelude, Fugue and Variation" (Op. 18). This is a rough draft for midi rendition: so I haven't added slurs, etc... Not sure about my brass passage in Bars 26-32? Perhaps I should stick with woodwind and strings? I wonder if I should attempt the fugue and variation too? Though they would be more challenging. Anyway let me know what you think? Franck - Prelude in C minor (orchestration) #8 (mid).mp3 Franck - Prelude in C minor (orchestration) #9 (score).pdf

Let me add something, even though it goes beyond the specific work in question; by chance, I came across an example just today. This is part of the first page of E. Elgar’s Concerto for Violin and Orchestra. A dense piece… Note that for the contrabassoon and the tuba it says ‘ad lib’ (ad libitum). This does not mean that these instruments should ‘play whatever they like’. It means this: -Optional instruments: The contrabassoon and tuba may be omitted. -Lack of players: If the orchestra does not have them, the piece is performed as normal. -Conductor’s decision: The conductor decides whether to include these instruments. This is what I was referring to earlier. Best regards.

dudeeee this is the coolest sh*t. ive never had a work dedicated to me before and with words from my own old poetry writing too? i'll have a lot more to say but for right now like, thank you so much!!!

Guys I am done https://musescore.com/user/96214813/scores/35442947 Ferrum, here is your dedication https://musescore.com/user/96214813/scores/35260994 @ferrum.wav Times.mp3 Times.pdf

Hi @Lithl , Thank you for your comment and the kind words! I agree that the piece does sound kinda cinematic and I love your story - I think you expressed it very well :D. I like the idea of a "journey" of sorts and I'll keep brainstorming for a better title.

Hi, A Ko, listening to it, I felt it sounded a lot like a movie soundtrack. It’s a piece with a strong sense of storytelling. I can’t express it very well, but I imagined a medieval warrior returning home from war. It might be cliché, though. Up until 3:30, they are taking a detour, passing through peaceful meadows and areas with somewhat mysterious trees. Around 2:45, there’s a sign that they are getting closer to home. Then at 3:10, their hometown finally comes into view from an open landscape, and shortly after, they return to the brick-paved streets of the medieval town with their comrades. At 3:32, the local townsfolk are incredibly overjoyed. At 3:52, the warrior spots their children and family among the crowd, and after that, the credits roll. I'm starting to confuse myself with what I'm saying... This kind of thing is difficult for me since I don't have synesthesia, so please just take it with a grain of salt as one person's perspective. On the other hand, I feel like a title with more movement would suit this piece better rather than just "Poem for orchestra", though words related to a "journey" might be a bit too boring. Overall, I think this piece is going to turn out wonderful. Good luck with your piece! Best, Lithl.

It’s a beautiful piece and your version is fantastic. It’s restrained and balanced, without any superfluous filler that ultimately makes it sound muddy and indistinct. And it sounds absolutely lovely. You’ve done a great job of separating the different voices implicit in the keyboard version, and that voice leading accounts for a large part of the orchestration’s success. In my opinion. I think the brass section is good, as it’s handled delicately and adds that touch of colour. I also really like the English horn, though I do tend to hear it more in solo passages than in the ensemble because it has such a distinctive timbre. Orchestrating a fugue is a bit different; I did one recently (by Bach). And well, I think with these styles you have to be very faithful to the original and add very little (in terms of melody or harmonies). And keep the parts very well separated. In this case, there’s an added difficulty because, although it’s a Baroque-style fugue, it’s clearly Romantic, meaning that, as well as the horizontal voices, Franck allows himself to add chords and thicken the textures as he pleases. A challenge that can be very rewarding.

Hello dear Lithl, First of all, thank you so much for your wonderful words. They gave me a tremendous sense of satisfaction, and I’m incredibly happy that you felt the music the way you did and appreciated it so much. I’d be more than happy to tell you about the plugins I use. I don’t know if you’re familiar with Pianoteq 9, but in my opinion it’s the best piano plugin available. I use my iPad with GarageBand, where I load Pianoteq 9, and everything is connected to my Clavinova. By the way, my Clavinova is actually of pretty poor quality, but it’s good enough to let me do what I want. I simply record everything through GarageBand, which is completely free. For my needs, it’s the simplest and most effective solution. I think it’s an ideal setup for musicians who don’t have access to professional equipment.

Always happy to be apart of what you create. And Vice-Versa. :)

To have the ability to say what I desire in so few words is something I strive to do. To put into words my exact feelings of this work seems a little daunting. While made for my sister, I find myself feeling selfish as even I feel a romance within the music. My hope now, is that you and others feel the same sense of connection I do. Thanks for the comments Red, I thought the voice leading was fine, and I couldn’t exactly remember what I wrote seeing your new example on the first read through. So after some back and forth, I realized there was a voice leading issue with the viola as it lands on the wrong pitch and breaks the stepwise pattern in bar 27 (I believe). I’ll take your suggestions into consideration as I amend the viola mistake. Thanks again!

Hello Vasilis Michael. The quality of this piece is amazing. All of the progressions are really smooth as well. Incredible composing skills. I'm sorry I don't have any specific critiques to point out, but the piece is so dense for its length that I never got bored. By the way, what plugins are you using? I would love it if you could tell me. Best, Lithl.

I find the music very easy to listen to in this "Jazzy" work. It's quite charming and I do find quite lyrical too! The interplay among the instruments work quite well and tell a very interesting story. Have you had musicians play the work. It sounds (without a score) technically challenging. Mark

Greetings all! I present here my latest orchestration of Rachmaninoff's beautiful and haunting Prelude in B minor. It's a rough score (as usual), with lots of slurs yet to be added, and flute division that needs sorting. Some of the notational issues come from the original piano midi I used as my source. E.g. The places where I have two crotchet triplets followed by a minim sextuplet. (Obviously four triplets would be preferable.) Also the strange tempo change to 80 bpm, and time signature change to 5/4. I will fix these; though it's going to take a lot of work, as I don't think there's an easy way to do batch conversion of tuplets in MuseScore. (Unless someone knows different?) The big bombastic chords in the piano original were quite awkward to deal with; but I realised I didn't need to match the piano rhythms exactly. All I really needed were pulsing chords of some kind: so that's what I've tried to create. I haven't been able to find any other orchestrations of this piece: so mine may be the first? Anyway hope you enjoy. rachmaninoff-prelude-in-b-minor-op-32-no-10 (orchestration) #47.mp3 rachmaninoff-prelude-in-b-minor-op-32-no-10 (orchestration) #47.pdf

This is my first sonatina! and my first exploration of a larger musical form. I learned a lot while writing it and am looking for any kind of feedback and overall impressions! YouTube link Hope you find some enjoyment in listening. Sonatina in C Major.mp3 Sonatina in C Major.pdf

@maestrowick Thank you for the specific feedback. I'm not surprised with your comment on the C-section; I thought the same thing, and I added or subtracted a quarter-note here or there to help it along, but I do understand that's fairly subtle at the listed tempo, and its repetitive structure does lead it towards sounding like those variations are inadequate when it comes to keeping it interesting. I haven't thought about the rest of the content of your comment prior to my posting, but I feel like there's some really helpful information in there. I am relatively new to writing orchestration after all. I'll keep posting and implement whatever I can!

Hey! You can just write "Tuba." Tuba transpositions don't work the as other instruments. Bb, F, C, Eb tubas all read the same part. This instrumentation is different. Perhaps consider adding the French horn so you would have standard instrumentation with a tuba. Also, the tuba can do way more. Since you have it here, think about adding more rhythmic variety with the tuba (especially in the counterpoint section)/ You could give the tuba part to the clarinet, and then write a virtuosic part there. My 0.02/

In general, you have some great ideas. I wonder at the end, perhaps the trumpet should play the opening theme in major to connect the end. Same with French horns. It would connect the ending with the beginning more.

Hello MinGry! I see that you have written a nice little piece, that i wouldn't describe as a sonatine. This is because a sonatine is Usually multi-movements Not ternary form, but instead Sonata-Allegro form, which has three distinct themes in the exposition, which goes from I-V (usually and you did that well) and also usually repeats. Then comes the development and reprise which you did well. You have a nice first theme, that actually seems to plain. The whole piece is basically just a mezzo-piano. You might have been able to develop the textures better by using more dynamics, and using more staccato maybe. You could have also had more layers of complexity. Good job on exploring a new style as a composer! Keep improving! Tristanthetristan

Fun rhythms, and I love the motif of the cello. The recording is beautiful and the cello is especially very expressive. Cakewalk though...that's definitely a blast from the past!

Thank you very much for your in depth a detailed review!

I wrote my first string quartet. I liked it while I was writing it, but now listening back I'm not so sure it would keep the attention of listeners. Maybe I regret opening with a slow movement. I think 2nd movement is best. I like the section in 3rd mvt. from 15:25 to 17:08, because of those chords and the counterpoint. And maybe I should have used more modern harmony in places to spice it up. 00:00 Movement I. 07:27 Movement II. 13:22 Movement III. Od. G. - String Quartet No. 1.mp3 Od. G. - String Quartet No. 1 [2026-05-29_06-41-34] .pdf