user011235

Updated score now with phrase markings in the voices denoting when to breathe. Though in m. 9-13 i left them out, because the singer could either breathe between 13 and 14 or after "way" in 11

@PeterthePapercomPoser Thank you for another review! Many of the annotated issues may be trivial but they're things that bug me whenever i've looked back at this piece The notes you gave on the annotations and the couple of other things really help me Yes, excuse me, I meant adding thirds and fourths or fifths and sixths, just to make the piano's solo bit sound richer Sure, if you would! Thank you again for the kind words and feedback. I think i'll post a revised pdf here in the replies with phrase markings in the voice as you suggested

This is a setting of Robert Frost's beautiful poem that I wrote around Easter 2018. Included is an annotated copy with things i'm unsure about. Any feedback is appreciated

Very tender piece and performance, well done. My only suggestion would be to add a little more variety. A ton of variety isn't necessary in a short piece like this, where the whole thing feels like a single thought. But i would have liked to hear a little change from the pattern of simply one melody note every half measure. And I would've liked to hear those sixteenth notes last more than one measure. I felt like they had more to say.

Thanks!

@PeterthePapercomPoser, thank you for your review! The annotations you clarified are appreciated. And I completely agree about the phrases, you put into words what i couldn't.

I've been grappling with whether i should post some old pieces of mine. On one hand, i really like a lot of the material in them, on the other, they're... well, old crxppy pieces XD. I looked them over to see if reworking them would be worthwhile - most of them I'd have to change so drastically that, especially since i've become so attached to them in their current state, i couldn't bring myself to do it. Others could be reworked, but when I tried doing so, I realized i didn't quite have the skillset. So, although i feel a bit icky about posting pieces that are littered with flaws that i'm already aware of, i think i'll be posting them one by one on here and hopefully perspectives of others will help. I also realized i could include an annotated copy of the score for each piece, with everything i can tell is wrong with it but don't know how to fix. Please enjoy the first piece, an overture i wrote in keyboard reduction style all the way back in 2018.

I like it! The only bit that sounds a little funny to my ear is measure 10. No idea what i would do instead though

@Markus Boyd I can't thank you enough for taking the time to write lay this all out so clearly and thoroughly. It's funny you mention Gjerdingen's book; just recently I was searching for it through the boxes from my recent move, but I couldn't find it! I shall redouble my efforts. In the meantime, this analysis was extremely helpful. I hope you'll continue to follow my musical journey here and look at and comment on my pieces when i post them!

Thanks very much!

Wow, absolutely sublime. The saxophone is such a beautiful instrument, it's a shame it's not used more often in a classical context. And you make such good use of it here, I really love this piece

I really like the entrance of the 1st bass and the lead up to it, m. 9-10

Another short fun none-too-serious piece. This is something I wrote for a US History assignment back in 2019. It started when I noticed that "My Country 'Tis of Thee," "God Bless America," and "This Land is Our Land" all contain (what could loosely be called) the galant schema known as a prinner, and I built the rest of the piece around that. I left the instrumentation intentionally ambiguous. For any assortment of three instruments you like!

That would be great, thank you!

Thanks @Markus Boyd and @Finish the Sextet for the reviews! Markus, looking at your page you're well versed in galant music, my favorite! I dont always adhere fully to the style (nor have i studied it nearly as extensively as i'd like) but it's a huge influence on my writing and its tenets resonate strongly with my own philosophy on music. @PeterthePapercomPoser brought up tonal variety and the possibility of a contrasting section as well; do you guys really think it needs it? The whole piece feels like a single thought, I wonder if sticking a modulation or minor section in there would disrupt that. I wouldnt even consider it a proper piece, more of an interlude. I know the piece is over 100 measures long, but it's just so fast. @Markus Boyd I replaced the pdf attachment, fixing the mentioned errors as well as two redundant dynamic markings. The strange phrasing at the beginning is because the first two bars are a pickup/intro - would a double barline after m.2 make that clearer? Also, I'm uncertain what you mean by increasing the independence of each instrument - my goal here was for each instrument to take the melody in a different section of the rondo.