PeterthePapercomPoser

Hello @BachGirl! Thanks for your interest! You can send @mercurypickles a message by going into their profile and clicking the "Message" button (if they don't respond to you in this thread).

Have you had enough time to read it yet?

Thanks Henry for pointing this out. @Churchcantor In your own words: So basically your posts so far could basically be summed up as "Haven't yet had the time nor mood to listen to it yet." I would rather hear what you might have to say about the music once you actually do listen to it, instead of posting 6 replies to my topic which don't discuss anything about the music. Before you replied, my topic had one reply by Chopin and was still on the "Works with Few Reviews" List. But now that you've cluttered the topic with meaningless posts, the topic is no longer on that list and is less likely to receive actual substantive reviews from the other members of the forum. There are places on the forum where you can post this kind of content though - such as in Off Topic - Journals. Or in the case of the Russian cartoon - either Random or Repertoire. Or you can tell your stories by posting status updates in your profile. But I think you are trashing the forum with the way you are currently using it.

Yeah - a pick-up and an anacrusis are just different names for the same thing. If you made that first F an anacrusis then your phrase would be 13 measures long though.

The phrase starts before the melody comes in so the beginning of the phrase is just the beginning of your first bar rather than starting the phrase on bar 2 as if the F in bar 1 was a pick-up. So the phrase might start with some kind of accompanimental pattern with the first two beats being a space in which melodically nothing happens (until the F comes in).

It's neither good nor bad - or at least it depends on what you want to do with it. It's just a characteristic.

You're the composer, so only you can make that decision. Certainly it can be more virtuosic than what you have! I mean I at least assume that the bassoonist can play some scales in an easy enough key. You can still fit a lot of music into 5 minutes if the tempo is fast enough. Check out this winning Bassoon Concerto that a member here submitted for a competition in the summer of 2020 when I first signed up for YC!

No I've never heard these Dvorak Bagatelles before. You've introduced me to them, so thanks for that! Yes, that's what I always do.

I think what with the way you changed the melody it now makes more sense to treat the melody as if it was an acephalic phrase. Counting the first measure as the beginning of the phrase, instead of just a pick-up note makes your phrases 14 measures long, with clear markers separating it out into 2 measure fragments (mostly). I think it makes more sense to look at it that way rather than as if the first F was a pick-up note.

Hey Mark @MJFOBOE! I love this song! I love the words, key changes and counterpoint between the various different voices of the choir! It'll probably be a lot of fun to sing for any future choir that might undertake a performance! Great job! The only thing that bothers me is a little nit-pick about how you notated the following rhythm: The right hand of the piano should be a dotted quarter note tied to an 8th of the following compound beat (beat 4 in 12/8), to group the 8th notes properly in their groups of three. Thanks for sharing and once again, bravo! (I liked the original song too but I think this one is even better)

Hey @therealAJGS! I like the Locrian inflection in this bass line you've come up with! I think the tambourine works but the drum kit is far from how an actual drummer would play. Improving your drumming patterns could really help this instrumental. Check out this video if you haven't already: Also another thing - I used to participate in an online monthly music contest website called midi-contest.com. It's now defunct and doesn't exist, but the owner of the site put a minimum duration limit on all submissions to the contest - 1 minute 30 seconds. As far as he was concerned everything under that duration was total trash! LoL From then on I've always tried to make my pieces at least that long haha. Thanks for sharing!

Hi @Alex Weidmann! I know it's hard working with the Musesounds sometimes in getting it to perform good articulations especially with the strings. But, could you have maybe made the 2nd Bagatelle a bit more clearly articulated by using staccato marks on the 16th notes and accents on the dotted 8ths or something? It's really unclear in this rendering. I see you tried using staccati at meas. 234 but you articulated the 3rd note in the triplets where for me it would make more sense to staccato the 2nd one since the repeated G comes right after that. Those are just some things I wanted to pick on LoL. But overall I really enjoyed these bagatelles! I really love your choice of repertoire that you're orchestrating! Great job and thanks for sharing!

Hi again @Vasilis Michael! I love this little set of waltzes! And I like how you composed them to be played one after another. They're both Chopinesque and perhaps Schubertian or Schumannesque too. I love the chromaticism! No. 5 is perhaps my favorite of the bunch with it's chromatically descending harmonies. I wonder if you've ever tried your hand at a polonaise or mazurka? But also, from what I've seen of your YouTube channel you consider yourself, like Chopin, a composer primarily for the piano. Maybe you could explore composing some chamber works or even works for orchestra? Thanks for sharing these gems!

Hey @Alex Weidmann! To me the Bassoon is far from center stage nor juxtaposed as a soloist against the orchestra. Usually the title of "concerto" implies some virtuosity from the soloist but there doesn't seem to be any here. Also, the bassoon is not given any kind of definitive thematic material that would give it the spotlight. Usually concerti have double expositions of the thematic material to allow the orchestra and soloist to be juxtaposed against each other with the character of the main theme. It doesn't have to be like that of course as sometimes the soloist and orchestra start together like in a concertante. And whether the soloist or the orchestra starts first is also up for debate. But from what I hear so far there doesn't seem to be any thematic material that has potential for this kind of treatment in this piece. Perhaps you could make this into the slow movement of a concerto, but the main introduction and finale of the concerto would be expected to be more athletic, catchy and to have a antagonistic relationship between the soloist and the orchestra with a recognizable theme driving that antagonism. That's my take on that. Thanks for sharing!

Hi @Fugax Contrapunctus! I like how you reinterpret the subject of the canon in the choir to allow you to fit in more syllables - that worked out quite well! And the whole canon has a nice structure that is corroborated by the orchestration where every time the canon repeats (returns back to its original key) a new group of instruments (woodwinds) or choir is added to bring the repetition into more of a high relief. It's a joy to listen to! Also - did you mean the Oboe 2 part to be played by English Horn? It seems to be too low for Oboe. And a very nice rounded off ending. Thanks for sharing!