ferrum.wav

fl studio

yeah i could see that actually. a large part of the main theme consists of a downward sequence of the motif. yet, the part that teases it repeats the motif a lot too. so, i get not catching the first statement of the main theme. though i've tried to signal it by putting it after the climax of the intro with dynamic and textural contrast this is actually parts of my weakness i've been trying to work on: letting themes breathe more with rests or signalling the end of a part clearly. the time limit is also a factor here cus i'd give longer rests to more sections if there was more time.

it is a mix and it's all free: flute, contrabassoon: Symphonic Sounds (Flute SSO, Contrabassoon SSO) violin: VSCO-2-CE-1.1.0 (Versillian Community Chamber Orchestra) cello: Virtual Playing Orchestra 3 (for the tremolo i used the orchestral one cus i couldnt find one for solo cello) piano: Yamaha C5 Grand-v2.4 do keep in mind that i also manually edit the velocity of every single note and add reverb but yoursss is my favoriteee, i actually got a bit creeped out listening to it. but yeah your description of my style is pretty accurate, no matter how many times i've tried to tone down the wildness, the wildness creeps back thanks for the comments !!!

@Henry Ng Tsz Kiu no you're right, when i listened to his piece, it became my favorite out of the submissions. i also like the fact that the other submissions are so heavy and dark in terms of the atmosphere, and mine is like wow its halloween spoooky timeeeeeeeee the beginning chord is actually the same as the one at the end, a Bbm11(#7,#11) or Bb minor and A minor stacked on top of another love that you notice the details that i've put it in. thanks again for the review henryy you're the goat

@Omicronrg9 it is really fascinating how my pieces tend to sound like a medley of unconnected themes to people, purely done by vibes. i assure you, based on the form that i've given, and based on the replies above, that i do state the themes, multiple times, even. maybe it's the accompaniment that's too distracting or too colorful that you don't notice it, or maybe the variations is too distorting, or maybe it's not catchy, or prominent enough? i think i've said this before that i do in fact, sketch my themes wayy before constructing the main piece, and i've tried basically to follow the basic principle of melody or theme writing. here are the first ever sketches of these that I've written in a DAW. just one line melody and chords. A theme: B theme: and i also get the whole "what you see in score (daw too) could sound different when score is not present," you'd think you've composed a good melody based on the looks of it, but when you just listen to it without any visual guide, it doesn't catch on. this is why i tried to put many repetitions of figures within the themes itself (as you can see) yeah compared to other submissions, this one's light. glad you like some of the sections though!! still appreciate the comments nonetheless. score alt link in case you missed it https://drive.google.com/file/d/12Ae39i_u-gnFFMmMTUBYBKnKNEfVpesN/view?usp=drive_link

well i was gonna write responses to the replies, as well as fix the errors, might as well :)))

try this maybe?? https://drive.google.com/file/d/12Ae39i_u-gnFFMmMTUBYBKnKNEfVpesN/view?usp=drive_link also fixed the tremolo markings btw @Henry Ng Tsz Kiu

updated. i thought i only needed to use the triple tremolos, or flz., or both. i've chosen to use both to make it clearer. updated to encapsulate the measures that should be played Sul G i'm not sure what this is referring to? if you meant the cello in b.37 where it plays measured tremolos with double stops, i'm pretty sure that's doable unless there's something else to it or i'm just outright referring to the wrong thing it is intended to indicate playing on open strings, not nat. harmonics, hence the "0" fingering. i've changed it to an actual open string symbol now. with the tremolo glissando, i think that's also doable? i've done some searches and have heard that specific playing in a piece i'm pretty sure. can't remember which piece though. fixed fixed changed the run from 16th note triplets to a 9 tuplet for form, it is true that I didn't really think of scherzo while composing form: Introduction: b.1 - b.50, includes both themes playing against each other A: b.51 - b.91 Transition I : b.92 - b.117, includes the intro B: b.118 - b.169 Transition II : b.170 - b.181 Intro*: b.182 - b.223, a variation of the intro A*: b.224 - b. 251, variation of A with change of accompaniment towards the start. Transition I*: b.252 - b.267, variation with added trills. B*: b.268 - b.319 Transition II*: b.320 - b.335 Coda: b.336 - b.359 thanks for the review!! the feedbacks and the comments are really appreciated!!

submission time

this is a submission for the 2025 halloween competition. i was just really going for a spooky halloweeny vibe but not like "terror and dread and killer" vibes. it's definitely lighter than the other submitted pieces. also, contrabassoon! very spooky sounding instrument, and i've tried my best to harness that specific quality of it. enjoy! update: -updated score from @Kvothe's feedback

Yep

aight im in

also update on the suite ig (note that this does not include the scoring process) No. 2 : Home (Omah) | 80% No. 3 : Scherzo | 60% No. 4 : Affection | 20% No. 5 : Festive | still haven't started anything yet, though I already thought of the opening

I'm with ya dude. I have the same dilemma, except on the other side. Sometimes, the return to an existing theme or a development of one gets distorted within my variations that the listeners could perceive it as a different theme entirely. For example, while composing No. 3 (Scherzo), I had wanted to repeat the stating of the B theme with a little variation. However, since the A section has a similar jazzy/improv style with No. 1, I had to force myself to put a repeat sign so that I clearly stated the theme and didn't variate it much further. Anyways, thanks for the feedback! Glad you feel the whimsyyy

VARIATION TROIS (3), is fully scored. very "tutti" variation, lots of moving parts. On the beginning bars, I contrasted the woodwinds from the previous variation with strings only.