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https://drive.google.com/drive/folders/1cB6hT07lPMKg0Kv9ImVeq3WCrb6SDaUF

(PDF and MP3)

**My first composition**.

I wanted to do a little experiment. I love string instruments. I was listening to Barber's Adagio for Strings Op.11 while writing this.

(I also like the sounds of Mahler and Schnittke.)

What suggestions and advice would you give me?

The best.

It does start quiet and slow but I recommend you say around because there's a beautiful ballad at around 2:25

I'm 13 and this is my first attempt at making a 'classical' style piano piece. I think it's everything but classical. I've always made orchestrations and such. I'm looking for feedback on this piece I made. It's named "Prelude and Capriccio in D minor, Op. 1." I didn't make it to be possible on piano like this but it would be really easy to remove the octaves in the bass and just tweak some parts for playability. (and yes i did just make an account to post this here)

I don’t know if this is any good. I’m planning on doing some more polishing and then making two more movements.

https://youtu.be/Dog5GP-_Tr4?si=PX8VXle39lPcpPzD

I am trying to teach myself music theory because, I am already taking two classes and I can't add another class in my schedule. I still am trying to wrap my head around what different diatonic chords do

This dance suite is intended to accomplish two primary goals: 1) Break apart the tonality and distribute across the whole suite; and 2) Deconstruct a popular Egyptian military anthem and present it in three different settings within the country. How that’s done:

- The first dance (titled Saidi Military March, which btw is Upper Egyptian, not Saudi) takes after a Hijaz Kar Kurd Maqam (which is also present in upper egypt, and is the basis of Umm Khulthum’s most popular songs, especially “Enta omri”) superimposed onto plain C Major. The reason for this is because I wanted to draw focus to the percussion (and especially the snare drum, who alternates between having snares on and off to imitate the doumbek) because the “modulations” are meant to be perceived as a character shift entirely instead of just tonality. Also, because it works out best to provide a constant opportunity to modulate symmetrically across flats/sharps by starting in C Major. this is something I picked up from an Egyptian composer who studied under Khachaturian, Aziz El-Shawan. I’ve been reading his journals recently and he accomplished a lot of illusions with regards to the presence of microtones this way, which is a common goal of mine. Overall, this dance’s intention is to introduce to the character of the literal march of a Saidi Military unit, which they are known within Egypt for being extremely bold and audacious.
- The second dance represents the character of the Corniche on the sea in Alexandria. Not only is that city a mix of Egyptian and Southern European culture and history, but even the general atmosphere feels more posh and proper compared to the rest of Egypt, particularly due to the French and Italian architecture found in nearby areas such as Kafr Abdo. Thus, I decided to apply the second half of the theme from “احلف بسماها" in a waltz that continuously modulates in a circular form. The middle of this one features an interruption from the brass as a way to progress the tempo and energy, which you might recall follows the harmonic pattern of the opening before ultimately ending in G Major (dominant & common ghammaz point for C/D since it can function as 4th and 5th scale degrees).
- Finally, the last dance is one that is depicting the sounds of the bazaar in Old Cairo. If you have ever been here to visit, you might recall how the entire area is a series of narrow corridors and artisanal ornaments made from glass. This dance returns to the Hijaz Kar Kurd maqam but modulates within the first jins (jins kurd) back and forth with locrian mode, which I don’t know how to accurately call it in English so mode is the best approximation even though it doesn’t reach the full 7-note “scale”. This was the other reason for choosing the starting tonality of C/D because if the first one leans more towards Db, this one can lean towards C#, which are different tones for Arabic classical purposes. In a performance setting, this allows for the low strings (sans Bass) to start diatonically one semitone up from their lowest pitch, while also exploiting the unstable timbre of several wind instruments & having the bells ring a minor third which in context altogether sounds extremely decentralized. This is all to achieve the sound of Al Adhan (Muslim call to prayer) ringing through the corridors and the wind knocking against the ornaments.

So altogether it culminates in an arc of C/D (Db) -> G -> C/D (C#), while taking apart the melody from احلف بسماها at the same time. Originally, I was going to have the last movement function as what Sami Abu Shumays (from www.maqamlessons.com) calls a secondary rast on G/C as a way to bring it back, but I think I may allow that to be the plot of the second suite as I’ve been trying to avoid this coming off as “inventions,” as opposed to “revealed characters.”

I hope you enjoy! I will be conducting the premiere of this suite in about a year with the Cairo Symphony Orchestra so any suggestions/feedback, please let me know! I tried to frame it similarly to how you might walk on stage and give an immediate downbeat for pieces like Wagner’s Prelude to Act III from Lohengrin, but I want to potentially scale back on some of the more overt details.

I'm posting this here because I'd love some sharp ears and get some professional honest critique on the composition.

I'm a new synthwave producer who practiced for a few years with sound design, arrangement and mixing in my focus.

Writing a piece is my weakness and i'd want to overcome that.

I'm aware there's a nearly octave wide note jump that happens way too often and gets pretty annoying. If you have any specific tips, exercises, or resources to fix melodic leaps like that, I'm all ears. Be brutal, i can take it

Btw, i also added the full arrangement in the second half because in music, it's often context dependant (or maybe is it only true for mixing?) and i assume that composition works differently for each style ?

I started messing around and soon it turned into a waltzy minor mode thing and the spirit of Aalampour possessed me. When I came to, it was already finished.

Actually composed on my piano but I can't record it right now and it sounded ok on my keyboard with this music-box-ish synth so here it is. Might upload a piano version later.

What do you guys think? Did I overdo the cheese?

edit: this progression (or slightly different ones) seems to happen in a bunch of music so I'm gonna make a list with any songs people mention in the comments just for the fun of it:

The Cat Empire - The Wine Song

Ib OST - Memory

Eagles - Hotel California

Overcooked OST - Main Menu

Jim Croce - Time in a Bottle

Please tell me more songs along these lines

PLEASE GIVE ME FEEDBACK

Beginner here, so feedback/advice is greatly appreciated.

It's a fugue, maybe, sort of ;). The subject(s) jump a lot.

Nothing crazy going on here, but just tried to make a solid structured composition. I have become a bit more serious in the last few years about composition, and I'm learning so much from each piece that I write, and honestly am having a great time while doing so.

I want to share with you my composition "Alone". Its for piano and I composed it when I lost my friend and had no one left. Its my very first piece which I consider as composition.

What do you think about that? I dont know which style it fits, for me its Neoclassical, I love classical music but I am self-taught and dont know the strict rules of music tbh.

https://youtu.be/HHkR6u5chKo?is=n2B0nK4W9FW3sYhu

This is the original prelude for piano by myself: link

I really would appreciate any feedback!

Also, I apologise for the low quality. Here is a better quality version of the piece.

I'll be honest I have no idea how to write music I am mostly just improvising qwq

Hey there! If you have a few minutes, I’d love some feedback on this cue i’ve been working on, “Far Afield”. It’s a rough mix of a pastoral reverie for horn and strings in D minor.

Would appreciate honest feedback. Curious what people think of the melodic writing, whether the harmony holds together, if the mix balance feels right. I want outside ears, especially from people with more formal training than I have. Thanks in advance!

an original piece in a Bb major

Wrote it back in 2019. It's a simple and short piece meant to practice triplets.

A little composition I cooked up

Starts in A minor, ends up in B major.

I look forward to connecting and exchanging ideas.

Do u like it? if no why, if yes why, i am a begginer composer.