Kvothe

I don’t see how this relates at all. If you are willing to participate, please remember the rules regarding AI.

This will be fun competition to partake in. The results will be interesting!

Hello @MinGry Below you will find mine critique on your sonatina: Engraving and ect: There are barely any phrase markings through the score. I think in b5 through b12 there should be phrase markings. Also, I feel there should be dynamics markings to create emotion depth. There is engraving error: use a double bar when you change keys! Harmony: (counterpoint) I notice there were counterpoint errors in this piece. In b13, you leaped form tritone leap: F#-C. That is not great. We want to avoid dissonance leaps at all cost. Dissoances are fine if we prepare and resolve them. I feel that F# should move to G in the bass. That way, you have better counterpoint in b14. I am not sure about the suspensions in the bass. Usually, suspensions in counterpoint create dissonance. The half cadence at the end section A weeks weak with. Perhaps, have stronger bass movement on that moment and then before that V/V-V with 5-1 bass line that will create stronger ending. Form: I feel this does this with in form of sonatina. While many are more familiar sonatas, sonatinas are smaller forms. No development section. Two movements! Thus, I would say the closest way to describe them is ABA. Good work!

You're welcome @JorgeDavid. I am planning to do my reviews in that manner. I am thinking it will be more helpful that way.

Hi @JorgeDavid, Below is my review of your waltz: Form: There are two district different sections that have their own character with the composition. The tonal centers and relations between is not common. I feel this would fit with in middle romantic period. I am not sure about the dramatic pause at the end of melodic phrase. It is rather sudden and jarring. It disrupts the natural flow of piece. Harmony and texture: There is a high sense of chromatism with in waltz. I wonder about how those harmonies are prepared and resolved correctly. The bass line fits with in the standard waltz type pattern in first section and breaks away in the middle section. Thematic material: A couple things to note: the ending of each melodic phrase with chromatic note seems unsettling. G-F#-A. While there is a sense of melodic sequence with each phrase, it is hard to detect the general structure (sentence, period, or hybrid). This was original piece and was truly creative. With in my musical taste, I like to hear more music like this. I.e. find a way to create a natural flow with each phrase. think about what I said about structure and form and how the works with the underlaying the harmony. Otherwise, you good start. Kvothe.

Hello there @林家興 I do agree with everyone that you should bring out the RH. That has foreground. We can barely hear it. Second: Instead of writing out the swing triplets, you can easily indicate that. Two beamed 8ths=qauter-8th triplet. That way, you can notate two beamed 8ths that are not played "straight". When you want to straight 8ths, you can indicate that in score. :) The modern jazz harmony reminds of Gershwin! :)

The program does the heavy lifting by itself. However, you should check over what you write. "Behind Bars" is what everyone using these days. Stone's "Music notation in the 20 century" comes is second. Stone is about modern notation conventions. Behind Bars is about the standards. Both are useful. I would use Behind Bars make sure my score meets standards. Then if there are modern convetitions i might use stone's. Or score study. (score study is the best.)

and indeed, old member. @ferrum.wav you should check out @SergeOfArniVillage works!

HI there, are you writing by hand or using a program?

Here are my overall thoughts about this competition: Overall, the competition was competition went well. I think new members might find the three-month time limit a challenge. However, seasoned members, with the flow. It allows entries to submitted and to be scored fairly. For the spring competition, I was a judge! There was one entry that stand out! Sadly, it was scored very low. For now, the competition should be for fun. and open to all. But I do not want to anyone to bummed out if they score low. So maybe new members should encourage from seasoned to join after they have a couple works? (just a thought).

This is a close race!

@UncleRed99 My pleasure as always. :)

I just came from watching this on YouTube Channel! The sprinkle of chromaticism (modal mixture and bII6) is a colorful touch. The sudden modulations reminds me of Beethoven and other romantic composers. I do agree that Beethoven manuscripts are readable. :)

I agree! Bach's WTC, his piano suite, inventions, the art of fugue, and many more should have you greatly! Also, look into his chorales. That is always best place to start. Take a theme and harmonize in 4 parts. :)

@Markus Boyd The baroque period counterpoint is truly refreshing to hear in each of these pieces. They me remind me of J.S. Bach suites, and of he used the strings in this manner. I love how strings dance so eloquently. I just love it. Just a quick note about stem direction: if the stem is on or below the middle line of the staff, then the direction is up. However, the direction depends on surrounding notes. Nothing major. Just a quick a reminder.