UncleRed99

I appreciate the feedback! If only my mind were as musical as it used to be... I've lost the ability to quickly identify things of that nature, and appreciate you doing so. I'll take this into consideration moving forward with other works. I'm glad that you were able to enjoy it to some degree, and look forward to more conversations with you all, here 🙂

I want to preface by saying that this sounds, and looks, very well done. Though, there are some areas of repetition, it's not too much and is pleasing to a listeners ear. The differences in mode without actually changing the mode, in some areas is also very cleverly done! Overall, the sound of it is pretty great, my friend! However (I know, I'm sorry. lol), In my personal opinion... Percussion parts being written in, such as Timpani, Sus. Cymb., Concert Bass, and/or Grand Staff Marimba, I think, could benefit the piece greatly. I kept hearing bits of percussion parts in my head that would've added much more emphasis on some of the phrasing you have here, and would've overall given it a more grandiose sound, all together. One thing I've noticed... (There's more than one phrase within the composition that does this, but this example is just the one that I see, most conveniently at the time of typing this) on page 27 of the score, in measure 197, for Violins 1 & 2, and Viola, the rhythm notation is incorrect for these passages. If you start a measure in 4/4 with an eighth note, it's typically seen as improper to immediately follow that eighth note with a quarter note. You're essentially notating a quarter note, starting on the up-beat of beat 1, and this is confusing to players, and to anyone reading along, since a quarter note will always start on a down beat, in any given score 😅.. Instead, replace each quarter note with 2 eighth notes tied together. It helps the player to subdivide the syncopation that you have, there. Secondly, a piece this long, really should have Rehearsal marks for when/if an ensemble may pick this piece up to perform at some point. Otherwise, the conductor and players will all have to look at each page, or, count bars to find a specific place in the music to go back and practice through. I usually break rehearsal marks up into sections/sub-sections. (When transitioning to a new phrase/variation of the motif, would be section A-Z, and subsections would be A1-10 - Z1-10 to mark areas of note that involve any variation OF the variation sections, if you understand what I mean by that. Take a look at my piece, here, for reference. Look for A, A1, A2 etc.. You'll see what I mean lol)The Long, Arctic Midnight.pdf Lastly, I observed that the Oboe and Horn parts have a lot of areas where a player may strain themselves early on in the piece, resulting in fatigued embouchure muscles before the piece has ended. This would make for a higher chance of players making a mistake in intonation, or even playing higher pitches with any sort of power or emphasis, nearing the end of the performance. There was also a moment there, in the first section of the piece, within the repeat bars, where the Horn has a very long set of tied whole notes. Players have to breathe! (Unless they learned how to circular breathe, but in my experience, as a trumpeter, most people aren't too privy to having any desire to learn that skill, so not a lot of wind instrument players can do that.) To conclude, the symphony you've written here has a very traditional sound to it, the writing is complex and for the most part, done really well. Honestly, the type of music written here isn't something that I'd ever pull off with any effectiveness... lol but Take what I say with a grain of salt... I'm also someone who's been out of the music game for a long time, and only within the last 6 months have I picked things up again. I'm not even back where I "left off" at. I dropped out of college pursuing a bachelors in Music Theory & Trumpet Performance, after the 1st year, and became a mechanic shortly after. So I'm still kicking the rust off my brain for my music theory knowledge. And have also never been "instructed" in composition methods, and I'm more of an autodidact who can read music well, and who likes to poke around on a score sometimes. Someone else here, with a high probability, would be able to give you even more to consider, than I will, certainly. Anyway. I like what you've done here, and just take my words into consideration at your own convenience. 🙂 Goojahb. 😉

**Edit** Updated PDF and MP3 to corrected version. Realized there were some mistakes I missed in post composing... Feedback would be much appreciated... The Long, Arctic Midnight.pdf 21414802.mp3 My project with writing in 11/8 Time is complete! Here's the final product :) byu/UncleRed99 inMusescore This is the completed score audio and PDF for reading along, or, follow the link above to a reddit post with the score video included. 🙂

Lamentation.pdf 20854795.mp3 Here's a piece that I wrote recently named "Lamentation". It features a Mixed group of instruments that include those found in Concert Bands commonly, a standard group of strings, limited percussionists, and a Piano. It was written to represent some of the feelings I've been dealing with in my life, through the last 4-5 years, given how roughly things have progressed in my recent life. Long story I won't bore you with. But nevertheless, this was, in my opinion, the best way to express those emotions and frustrations without using words, and I feel I hit the ball out of the park, in terms of encompassing that. I'd love to know what the community thinks. 🙂

Untitled score.mp3 Untitled score.pdf Hey all! New here, so bare with me ... lol To give a short description of the person who's requesting help here, I was previously a theory and performance student for Benedict College in SC. I dropped out in 2018, and only within the last few months have I started to get back into messing around with music theory and composition/arranging. I always did it as sort of a hobby, and have not had instruction in any capacity, other than my abilities to read and comprehend a music score, and my own learning as an autodidact for composition. The piece that's attached is my first attempt at writing anything in an odd time signature. This example is in 11/8 time, followed by a meter change to 12/8, then to 6/8, and (supposed to be) back to 11/8, but as you can see in the PDF, I am not done with composing this. I'm requesting 2 things of the community... 1. What should I name this score? Based on the thematic feel of it, what do you think? 2. Currently, disregarding any missing voices at this time, how is the structure of this score so far? Any mistakes that I should be aware of? I thank you all in advance for any positive, negative, or constructive feedback you may leave for me! I will post it in full once it's complete, pending any feedback on it. 🙂 Edit: MP3 Audio ends at 3:34. Exported the MP3 from MuseScore 4 Studio, so it exported the entire score, including the empty staves and measures.