ComposaBoi

I have no criticism, I just wanted to say well done! It's such a simple piece, polished to perfection, and I love it!

I talked with him. He said he uses a midi keyboard and didn’t play the parts he had trouble playing. So he’s sort of “half playing” I suppose

Sorry to break it to you, but listening to this, I'm getting many clues that you were scammed, because this does not sound real. Even if they had used an electric piano, there's no way their tuplets are that precise at that speed, there's like no dynamic nuance, and the dynamics rarely even match properly, and the pedaling sounds unnatural. Sounds like they took a midi and messed around with tempo changes. The piece itself is well written. The themes are memorable, they develop nice, etc., so well done. The main issue I have is the enharmonic spelling in the score makes it troublesome to read sometimes, so I'd suggest reading into that.

The Chopin sonata was definitely a big inspiration, but I didn't even realise the clear Liszt Dante sonata influence lol. I did intend an attacca at the end, I just forgot what it was called 😐. That was a typo. There was another typo where I accidentally did 'mosse' instead of 'mosso'. I also noticed I left my full name in there, so to avoid being doxxed, I updated the score with some of these fixes. Just another thing I missed. Fixed that too. Thank you for the feedback!

Last day rushed to finish and record!

This is a piano sonata I've been working on. It's sort of a venting piece for me. I write it while dealing with the thoughts of being a gay man in a conservative Christian community, so I think it's applicable for Saint Valentine's Day, but instead of "I love you," it's more, "I wish I could love you (without being abandoned or shunned by everyone I know)." Kind of melodramatic, I know, but I'm pretty happy with it so far. I plan on making 2 more movements. Forgive my mistakes in the piano recording, (especially measures 246-7. Yikes, I butchered that)!

I quite like the atmosphere it creates. I especially enjoyed the central section where it built in tension. I don't know what the exercise specified or what constraints or goals may have been set, but imo I didn't think that a reprise of the earlier material toward the end was the most effective decision. I personally feel that continuing going in new directions with the established texture would have worked better. But that's just what I felt, and again, I have no idea what the exercise was for.

Great work as per usual! The counterpoint is masterful, though the dissonance in the beginning was jarring at first, it works well I think. Especially after more listens, it makes sense and isn't so jarring. One thing that I felt was problematic was that the low lines were sometimes muddy, which is hard to avoid when you have two voices in the same bass register. I do think it would sound much better with real instruments though, so it may be alright. I also felt that the sheer number of tuttis, though masterful in execution and contrapuntal technicality, create a bit of a repetitiveness throughout. Alot of this repetitiveness went away by about the fourth listen as I began picking up better on the intricacies and understanding the structure, but the fact that it took so many listens to get that point might mean something. Or maybe I'm just bad at listening to fugues other than Bach ¯\_ (ツ)_/¯ So, I guess after so many listens, most of those issues disappeared for me, except the muddiness of the cellos in some instances. Overall, solid work writing this 6voice fugue. I'm excited to hear it in the context of the rest of the movement.

It's changed a bit overtime, but I've always written music for myself. I only started sharing music online fairly recently I'd say, and I've still only shared a small-ish portion of the music I've written. This has evolved over time because I've found that when I receive feedback, even if I don't like it at first, I end up getting a result I like better. So, I guess I write for other folks, (those that help me improve namely), but ultimately, it's for my own enjoyment and expression (which has been especially expressive lately because I'm going through the angsty depressed teen phase that Henry so detests lol). It's interesting because it seems most folks so far write music for themselves over writing for other peoples' enjoyment. I guess I kindof expected such, especially on a forum which has such a high concentration of more "classical" composers.

It's less so the speed and more the technique at that speed. A harp can play arpeggios and glissandi very very fast because they can glide across or alternate hands, but you have two notes at a time that are close together and fairly fast on the same staff. Pluck like that in the air and feel how awkward that is. The best solution I think would be either to increase the note duration or make it one note at a time, but maybe you can figure something clever out. Also, that is a great piece to study. Saint-Saen's harp writing is top notch stuff. Yes, that would work. To get an understanding as to why that's too fast, grab your guitar and play that part at speed with only one finger plucking on only one string. Anyway, I'm glad my feedback has been of some use 🙂

The textures are very satisfying and the music flows well with clear direction. Some of the harp writing looks like it was written for piano, which most of it would not be unreasonable for a harpist, but measure 23 seems like it might be too much for plucking. Make sure you understand how the instruments are played when writing for them. Another similar issue occurs on measure 27 in the violin. That's much too fast for pizzicato! Remember also to provide dynamics when the instruments first play. You did so with the piano and strings, but the harp was only a measure late and the poor marimba only gets dynamics at the very end. The section from bars 9-12 feels awkward to me, and upon closer inspection, it looks like you don't quite know how that's harmonised, so the viola kind of ends up sounding off. I've written the implied harmony I hear and how I would write the viola part (also, I changed the key signature to be more accurate with the tonal center, used quavers instead of semiquavers in the left-hand piano just because I think it looks nicer, and shortened the last notes' duration of the strings to fit with standard pizz writing i.e. no minims or longer for high strings) As you can see, I continued the established contrary motion and reinforced the harmony. The rest of the piece was harmonically coherent. I hope this helps!

Here it is! I should give people some feedback now since I've posted two pieces without doing so. Gotta even it out!

A piece I wrote for Christmas. This is my submission for the Christmas event. The lyrics roughly translate to 'A boy is born for us, and a son is given to us, upon whose shoulders authority will be, and his name will be called "The Great Counselor Angel". Sing to the lord a new song for he has done miracles.' I focused on making something beautiful with all those dissonances and chromaticism. I think it's worked to some success and I'm fairly happy with it. Thanks to Fugax Contrapunctus and Ivan1791 for being the source of discovery of the wonderful app Cantamus. Unfortunately, it doesn't like my ritardandi or the caesura at the end and it mispronounced 'super' but it is significantly better hearing the lyrics and I'm NOT going to sing it myself.

I wrote a doo dad, I’ll post it here later. :)

I made my first original music nearly 8 years ago. made it up in a car ride from a park or something and it was just a repeating motif and a bass line and it was never written down, but I still remember the melody to this day somehow. The first composition after being exposed to classical music was a piano sonata.