Constantine

blackballoons-I am actually influenced by the great romantic concertos (Tchaikovsky, Rachmaninov etc.) and I am adding a bit of dissonance just to make it as modern as it can be without being ear-aching. Prokoviev? Interestening thought! Transitions deffinately need a lot of touching up and I am beginning to think that maybe the title: "Fantasia for piano and orchestra" is more appropriate than the "Piano Concerto" title (at least that is where it is currently heading since I am completely abandoning the sonata form at this time of development). Thank you for your remarks! chodelkovzart - Well, at least I thank you for the "unique" comment :-)

Guitarbreaker-Thank you for your comments! I am actually lightenin' up the intro regarding orchestration because it really was too heavy for the unfamiliar ear, although I believe that the main theme should always arrive after a big orchestra exclamation and not right through (if I understood your propostition correctly!). Thank you again Norby - I have never taken any composition or orchestration lessons in my life whatsoever! I am as a beginner as it gets!!That's why I am so damn proud of it!! :-) darkangel2008hk - I am sorry but I didn't understand your comment, although I think it is good intentioned! Thank you!

simenn-Thank you very much for your encouraging thoughts! I agree there are problems with some of the thematic material but it's still an ongoing work and it surely needs a lot of polishing - that is the reason I posted it in the first place, to listen to some suggestions. Thank you! abd zibdeh-well that's funny because I thought that that part needed complete rewriting. Anyways, thanks for listening!

Morgri - the score is supposed to be a mess because I am still working on it. I have posted it to hear some suggestions regarding orchestration, tone colour e.t.c. e.t.c. while listening to the midi at the same time and not regarding the way it looks on paper. I 'll see what I can do, however. Norby - My you are harsh :-( I 've only asked for some suggestions and expressed the way I feel about my piece without forcing anyone to like it but I didn't think anyone would so much as HATE it!! Sure, there are problems in transitions, thematic development and maybe some over the top orchestration but I didn't intend to write an ambitious piece and I surely didn't intend to hurt anyone's ears. Anyway, thank you for taking the time to write a critic even not so much as a favorable one.

It's the latest piece I am working on and I am quite proud of it. It's not finished yet but I believe you can get a fair idea of it. Unfortunately my notation software regarding midi format doesn't support more than 16 instruments so I made some major cuts from some of the large orchestra's instruments that I am using as you can see in the score but the result is representative enough I believe. Thank you for hearing. Piano Concerto.mid Piano Concerto.pdf

Certainly!

Your piece is excellent, adequately atmospheric, very good use of the tritones and well proportioned and balanced (I can't hear or see any of the monotonous lines or dullness mentioned above - and I heard it thrice already!!!). I could say though that the motivic change from bar 63 to bar 74 is so delightful that it should be developed and advanced further than just as a minor episode during your mysterious narrative. I'd like to know more about these stories and that willow, is the piece totally programmatic or are you trying to decrystallise the feeling of the story and not narrate the story itself? Excellent work! http://www.youngcomposers.com/forum/quartet-no-6-a-18430.html http://www.youngcomposers.com/forum/nonettopiece-18431.html

That quartet is the sixth of my seven sofar one- or two-movement quartets for various string combinations (4 cellos or 2violas, 1 cello, 1 contrabasso etc. etc. but this one uses the classical combination: 2vlns, 1vla, 1cello). I wrote it when I was 23 years old and I regard it as one of my most "brainy" compositions. Although I tried to remain as much as possible to the field of absolute music, the whole of the quartet is loosely based on a programmatic idea reffering to the misfortunes and ambiguities of the feeling of love. I have already posted the 2nd movement but as long as I completed the transcription of the first movement in my notation software I thought I should give it a try to the forum so... 1st Movement - Lento It's style is quite atonal with a few passages of classical harmonic development and it's form could be that of a sonata - rondo (as far as one can tell regarding it as a whole). The whole movement is based in the development of a four note music cell which is heard in the very beggining of the movement and progresses to a climax in the middle section. The extended melody that is heard both in the beginning and in the end of the movement also derives freely from that cell and its purpose is to bring some tonality reassurement (as far as that can be possible in a heavily chromatic work) and some unity between the contrasting parts. 2nd movement - Lento / adagio As with the first mvt, the second mvt derives also from that same musical cell although it is used in a more tonal way untill it express itself fully in the middle section of the piece, which is called canzonetta (the core of the whole work and the embodiment of the programmatic idea mentioned above) and it is supposed to be played by the two violins alone (although my original idea was to be played by a solo violinist). Quartet No.6 1st mvt.mid Quartet No.6 2nd mvt.mid

morgri - yes that's true and very perceptive of you, I did use some piano notes as a beacon for the singer's voice to adjust it properly. I will attach the score so that you can have a better look out of the song. Thank you and bolanos for your kind comments! :-)

It's ok, thank you for not commenting, you are sincere :-) Anyone alse?

It's good and it generates a blissful feeling adequately (since I guess that was your intention in the first place)

That I must indeed it seems - Thank you for your comments!

You are probably right come to think of it :-) thank you for your help of hearing it in another era and context :-) Maybe something like Amelie?

jimmiew-you are absolutely right regarding the chords dynamic - blasted midi!!! :-). I was really glad you figured my practice of using tension as a release (I think they did it as well back then with all those unresolved and continuous chords they applied) Thank you!

SecretAgentSuttleschinns-I intented to use overchromaticism as it was a common practice during that era so that's probably why some chords sound harsh to you. Thank you for your recommendations.