Kvothe

If you limit yourself to one style, you might restrict yourself, and make it harder for modern audiences to enjoy your work. The modern audience today still attends orchestral concerts. But the programs that orchestras schedule are mix from classical, romantic, and 20th century composers...and some times music from other media.

Possibly, yes. :) @interlect Ava Part writing does have melody and harmony. Arvo understanding of counterpoint is amazing.

Modest Mussorgsky piano suite "Pictures at the exhibition" certainly have been written for the orchestra countless times. Schubert arranged one of lieder into piano trio. Debussy orchestrated one his works. So, the answer is ...yes! In fact, that would be fun challenge for this forum: arrange a piano for certain ensemble. @Lithl That is one method. The other method is the old fashion way: write everything out. :)

Entry: On Pastel Sky Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 10 10 10 8 8 10 10 Average Score: 9.5 Review: I generally do not much to say about this piece. My only concern is that why is mallet percussion players switching to non-mallet instruments. Usually, non-mallets require a different staves. You also church bells as part of the ensemble. I am not sure if mallet percussionist would be able to play them (?). Those runs and rolls seem seems to fine. There is no issue there. I can say this was highly creative piece with different textures, harmonies, and themes. The overall structure is intro (Hymnal) then quasi rondo happening. That was fun to listen to. You went above meeting what was expected. Mallet percussion mixed with non mallets creates beautiful orchestral sounds and colors. This is usually out side my taste, but...hey...I thoroughly enjoyed. Please write more mixed ensembles in the future. It is started to grow on me. kvothe.

@Luis Hernández I also own Cecil book. His humor is rather intelligent. But at the time it was written, the alto flute was inaptly named bass flute. now, we both there is actual bass flute. So this is not correct naming. unlike Adler, he miss places other woods in brass section section. Again this is error on his part.

@Luis Hernández Fux is starting point for counterpoint. For tonal 18th century counterpoint: I would recommend: Piston and Kennan and either 18th century counterpoint by Gauldin or Baroque Counterpoint by Schubert.

My dead young composers, I think it is time to list resources I enjoy reading and am reading. I will start with more accessible to new composers then go to most advance ones. Every composer, under their toolbelt, should have firm understanding tonal harmony. While the millions of books on the market, it is probably difficult to decide which one to use. This is where your undergraduate course helps you. Professors have thier prefence. Mine used "tonal Harmony" However, if you want to get jump, I suggest two books: Fux treatise on species counterpoint, and Tchaikovsky treatise on harmony. Schoenberg also wrote two books on harmony. Be warned: Schoenberg book on Harmony is like reading book on philosophy. Traditional harmony is fine, but we are currently in modern era where that pushes the boundaries. Thus, book on 20th century harmony should the follow up. There are two books that go through this! I think Peter is going through one. He would reccomded that one. I have that one. And I would agree with his assestion about it. I would also suggest picking up book on Alan Forte and "The music of Bela Bartok" Understanding musical style is important as writer. Therefore, Charles Rosen books "The classical style" and "The romantics" are a must. He links Bach to each period. Speaking of Him, he wrote about Sonatas: Sonatas forms. (I hear there are 3 vol set about sonatas, but his book is more concise). Now to onto musical forms: Analyzing Classical forms and Sonata theory. Both are great books. But start with Schoenberg book on composition. I hope this well you. Also, score study. Share your works as you learn. And choose the best path that works for you. Orchestration is the final step! Rimsky-Korosky, Adler, Brant.

As a type one sonata, I can safely say the following: The tonic pedal under the TR zone is nice touch. Our ears usually want to V pedal while there is key modulates. But a tonic pedal creates tonal stability and fits within type of sonata. Although there is not official ST after TR launch, which is linked to missing MS. We still have closing section, but not a codetta. The sentence structure in the opening is well written: statement and response. The middle section (B) is small development that follows up with A section. Overall, this type fits nicely with in early period of the romantic composers or with in late baroque-early classical period. I imagine you were inspired by Clemente, Scarleti, Schubert, Mozart, etc. Let me know. I just read @Lithl comment and your reply! Yes, I can see how his works would have influence you. We would not think his sonatas as the norm, but back then, sonatinas were. It is right to say it is binary, but more accurately it is sonatina. :D

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Hello @MK_Piano Form: You have succeeded ABA form nicely. I love mini cadenza in the middle section. Your piece reminds of Chopin nocturne! Theme: you have strong sense of lyricism in your writing. It flows so easily. Harmony and texture: the bass line texture definitely is something Chopin would do ! I have a strong sense this was inspired by chopin!

That's fair. But John Philp Sausa must not have read any of these when we wrote solo line for the piccolo!

Sadly, I have strong feeling that piece might land well with competition. :(

I will see how it is scored. Then, i will go back revise it

Also, note: I can not comment about instrumentation/orchestration for the score is piano score. If you want us to do that, a full score should be provided. This is why I am cautious about AI in music.

Why hello there! My gosh! The many textures and colors in this piece is fantastic. I love the haunting vocal line over the lush, enchanting strings and the wood runs. The piano part is a chef kiss. I can understand why you choose to not have a brass section. They are often loud. That would take away from the mood from this piece. To me, I can hear in this in haunted mansion ride.