Kvothe

For balance, with the horns, a2 at forte is the same as one wood at same level. Ergo, 2 horns=1 wood at the same level should be fine. But also, remember timbral characteristics, too.

Well hello there, The first movement of this symphony is nicely structure! I see no structural problems. Kudos. However, after a first listening I do notice some balacing issues. The remedy is easy: follow what Rimsky says in his book and it should be fine. Ergo: 1 horn=2 woods and ect. I also notice that sometimes dyamics suddenly change. Maybe that is on my end. Check that too..

I feel I am bit late...

Hi there @Samuel_vangogh: I thoroughly enjoyed this short, modal piece. The quartet harmonies, which act as a background material, for the modal foreground theme is quaint lovely. It reminds me of how ravel wrote his Piano Preludes. What I especially love was the short cadenza. That truly showcased the Quartal harmony. Overall, you did a great job.

Why hello there, First: I must say that I never lost interest when I listed to fugue. I did not get listener fatigue. For we know how that can happen. 🙂 Second: The entries of the subject and the counter subject in each voice are done well. Third: May I ask why you use two piano score vs one?

As other have mentioned, it's a clearly well written. Interplay with the boucy reeds makes a fun piece. bravo.

Thank you so much feedback! Thanks for the positive feedback about in A section. Yes, I had harmonic planned out ahead time with melodic sketch before I wrote it. In the B section, my melodic plan was to have the cello carry the melody and the middle and upper strings provide middle and back ground material. I was inspired by meldshson. Oops! I just noticed about the f# now. Silly me. I remember this next time.

Hello there! Yes, I can the influence you were talking about. It is fine to borrow what we like. All composers do it. We may even recycle the same idea in different pieces. Saien Sains did this with one of his theme( a la fossils and Danza Marbre). I can imagine the story follows this music rather well. Great job

Why hello there! I must say you have well written Leider. I love the haunting piano chordal accompaniment. It remindss me of Debussy and Schubert. The tonal colors are just a chef kiss. It fits the overall theme: the moon. I cannot say anything negative.

This will be a tough call for there are many I have on my list. First I have Bach. With out his works, others would not how many variations they should do, or how many preludes they should write. Or what polyphony is. After this: Beethoven. While Mozart wrote more, we have two volumes of piano sonatas, four piano concertos, and I think other piano pieces by him. In the romantic period: Chopin(He exclusively wrote for solo piano), Schuman, Brahms, Mussorgsky, Rachominov, Cerny, and Listz. There are too many to list. 20 century: ravel, Bartok, Gershwin, Copland, Joplin, Glass.

Hello there! I thoroughly enjoyed listening to your piece. I can tell you spent you a lot work into it. Bravo! My review will be broken down into the following sections: Musical form, instrumentation/orcstration, harmony, and counterpoint. I. Form: Overall, the form of piece is well established. As a listener, I can hear when the music is different sections naturally. Thus, I have no issue here. However... I feel that piano introduction can be shorter. Maybe, only two measures, and then have start A section. I hear a musical phrase repeated several times repeated in the A section. For mine money, at least. revisit this musical phrase and shape into something better! If it happens, label them! And think what is your b.i and etc. This will allow your piece to grow through each draft. The B section is done well. The melodic character is different in this section. I truly love it. The longer phrases established this too. 🙂 II: It is easier to talk about instrumentation and orchestration when it is a duet. *wink*. The first thing I noticed is that Oboe and piano double the theme in A section but not in the B section. If the Piano is to be accompaniment part, then my recommendation is to write the oboe as if it a solo line then write piano part. There are ton examples in repertoire of oboe and piano. I love the accompaintment in B section is makes the piano it is own character. You just need to do this in A section! III and IV: I need to see a score for this Cant't wait to hear your next draft

As a composer, sometimes I struggle with creating original, creative pieces. This struggle makes it difficult for me write and finish work. On top of this stress from non musical job and family stress just makes even harder. However, despite of all this, I can still take time to try write down my ideas.

HI angel! Yes, I can hear the doom influence on this track. You mixed classic with rock and roll very well. I love the choir very well. What libraries do you use?

You are welcome.

Hi there, I have listened to your duet. I appreciate the interaction between the piano and viola. The viola provides rather interesting material, and the piano provides great dialogue. It reminds me of one of my favorite 20th century composers: Dimitri Shotoasky or maybe Stravinsky. I see nothing more to add.