Rômulo Mello

Thank you for pointing this out! I have not yet read Korsakov's orchestration treatise but for some reason I remember reading somewhere that horns have half the power of other orchestral instruments, hence requiring their presence in four parts in romantic orchestras, opposing only two parts of each woodwind. Thinking about it now though, I do think two modern french horns playing forte might cause balance issues (maybe I should've used 1 horn?). I believe using 18th-century instruments would solve the problem (it is possible since I wrote the entire horn parts using only natural harmonics of D), or even just playing the fortes as mezzo-fortes, like modern hornists do when performing classical-period works. About the dynamics, you mean subito fortes might be a problem for the orchestra?

Thank you for the reply! Well, I definitely don't want to spend my entire life as a Mozart copycat, but since I'm still quite young, I don't think mastering old forms through masters like him would hurt. Nevertheless, I understand your point and will reflect on this topic!

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This is a symphony I completed yesterday, Christmas Eve. I had already published the first movement a few weeks ago and wished to share the other now-complete movements. The symphony follows the standard four-movement classical structure, however, I do have some doubts in this topic. For example, I added repetitions to both the (exposition) and (development+recap.) sections in the first movement, but noticed that Mozart himself normally doesn't add repetitions on the (development+recap.). Maybe this lead to excessive thematic repetition in the first movement, please tell me what you think! Also, regarding the last movement, I wrote a rondo even though I don't think Mozart's 4th movements from symphonies are strict rondos. Maybe I should have written the 4th movement in sonata form? One last thought regarding key: I opted to write dominant sections in Db major instead of C# major to facilitate performance (for example, the Minuet). Was this good practice, or would it be best to keep the dominant as C# Major regardless? Looking forward to your feedback!

Thank Thanks!!! I think you've reviewed my first symphony, that I submitted in 2022

Thanks for all the feedback! I guess I should correct the rhythm problems and add the rehearsal marks before moving on to the next movements. Nice to have tips from an experienced brass player. About the long note on the horns, I wrote it that way because I frequently see that kind of writing in Mozart's works, disregarding completely the breathing necessities. I didn't question Mozart's writing and just mimicked it, although I wonder how horn players would perform it.

Today I completed the 1st movement of my second symphony. Its my first time writing one in three years... I wish I could have written it a little bit earlier but unfortunately I was busy with some other projects. Please take a listen, and tell me what you think! I've provided two audios, one of them is perfmormed by musesounds, which sounds more realistic, but less precise and too muddy in fast passages. This is why I also included the older default Musescore midi.

My first quartet, for violin, viola, cello, and piano. I've grown really fond of this piece especially the last movement. Strangely, I seem to struggle a bit in sonata forms, perhaps I get too carried away in the development section. Please give your opinions! I. Sonata form - g minor II. Ternary Form (B section only cello+piano) - g major III. Ternary form - c minor IV. Rondo - g minor

Hey, sorry for the late answer! I use Musescore

Thanks for listening. The volume is indeed too low. I will try to boost the overall output volume next time. About the passage at 15:20, it really sounds a bit off, maybe because of those 64th notes. It's better to stick to less extreme note values I guess.

Alright! thanks

Thank you for all the tips. I didn't say this before but I am an aspiring professional clarinetist, and I plan on doing my graduation in Germany after finishing my studies here in Brazil. That said, I already have social media associated with my clarinetist career. Do you think it's a good idea to mix both activities into one account?

My first concerto and one of my first orchestral pieces. I've written it in about 2 months, in a hurry to finish before my 16th birthday. The concerto is in romantic style and B flat major. It has four movements: I. Allegro moderato - sonata form, orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. (There is a cadenza before the coda for the soloist to write) II. Largo - ternary form, addition of english horn, bass clarinet, contrabassoon, +2 horns, 2 tenor trombones, 1 bass trombone and 1 tuba, harp, bass drum, triangle, cymbal. (In G minor) III. Scherzo - ternary form, 3/4 time, addition of the piccolo. Intended to sound like a Brazilian choro. (In F major) IV. Finale - rondo form, 12/8 time, addition of snare drum. I'm having some trouble achieving a greater visibility for my work. If anyone knows about competitions or something similar that would accept this style of composition I'd be very happy. As always, any feedback is appreciated!

Hi! Musescore has many weird playback problems so the suddent jump from mvt. III to IV and the thing with the violin in the second movement and the third movement where it suddenly disappears wasn't supposed to happen. Anyways, I'm not too worried with it because my works are written for real players not a program, so this isn't supposed to be an actual performance. Your thoughts are very interesting particularly the part about solving the tension too early in the ending. I will experiment with keeping it longer in my next sonata. Thank you!

I just used the coda as a scoring tool, without actual correlation with the structre of the movement. It makes sense I should use the coda only with the coda section (duh). Thanks for pointing it out and for the other observations!