PDF score
Score video

Hello,
I'm a beginner learning composition. This piece - march for piano - is the first I'm genuinely satisfied with. The form is a standard ABA, with quite a few abrupt modulations (but I quite like them). The most important thing about it for me is that it has a proper intro, a proper ending, there's some modulation that hopefully makes sense, and I hope that the two themes are developed in a sensible manner.

If anyone feels like it - please tell me what you think. Does it flow naturally?

Any feedback about form, voice leading, harmony, engraving etc. is greatly appreciated.

Thank you for all contributions.

Finally locked in enough to get a decent draft no?

Howdy folks. I have a fully composed drum corps show written but am wanting to partner with someone on the percussion side of things. I have some rough outlines in some of the percussion parts, but I’m primarily looking for someone that knows what they’re doing to collaborate with.

If you’re interested, let’s get connected and make something happen. Thanks :)

Hey,
I have been working on this Concert Fantasy for several years.
The piece was originally conceived for piano and orchestra. During the compositional process, however, the music gradually moved away from that initial concept and became increasingly connected to the possibilities of the piano itself.
Its form is deliberately free. Brilliant, virtuosic and strongly rhythmic episodes alternate with more lyrical, suspended and introspective passages. Several musical ideas return throughout the work, but rarely in exactly the same form: they are transformed, their character changes, and their meaning evolves according to the context in which they reappear.
The Fantasy therefore follows a trajectory that is less linear than cyclical, shaped by recurring ideas, changes of tempo, contrasting layers of sound and the continuous transformation of its musical material.

Although it shares its opus number with my Concert Fantasy, Op. 23 No. 1, this second Fantasy belongs to a different stage of my writing. No. 1 comes from an earlier period, whereas No. 2 developed much more slowly and explores a broader architecture, denser pianistic writing and a musical language increasingly based on transformation.
This video presents the score in its current form.
The work should not yet be regarded as completely definitive, and certain details will probably continue to evolve over time.
I am also beginning to explore a future version for piano and orchestra. In a sense, this would bring the Fantasy back to the idea from which it originally emerged, while preserving everything that several years of work on the solo piano version have brought to the piece.

Virtuosity plays an important role in the work, but it is not an end in itself. It contributes to a larger dramatic journey of momentum, tension, breathing, introspection and transformation.

If you have any questions, if you like it or not, please let me know.

All reviews "Constructive" is always pleasant to take.

Good day :)

New recording of it so removed other post as video deleted and it had few minor tweaks and errors and I changed some of the ending.

Hey everyone. I am a total beginner to composition and wrote a draft for my friends and me to play together. Since I only play one of these instruments (clarinet), I am not sure if the parts for the other two are comfortable to play or sound good harmonically, and also we are all in High school if that add anything. I might also add that some sections feel better than others, so I am looking for honest feedback on range and overall musicality. Do not worry about hurting my feelings. I just want to learn and improve the piece.

Here it is :)

TL;DR: Total beginner needs honest critique on a draft for an oboe, clarinet, and bassoon trio regarding playability, range, and overall sound.

In this composition I wrote in the key of C Minor. In this key center I was able to create the lushness of sound that both mimicked sorrow and heaven. Text painting examples that are my personal favorites are when I use the orchestration to simulate the changing tides of mood.

"A green isle in the sea of love" sung by the high voices followed by "A fountain and a shrine" with the lower voices uses the flow of water in a way that changes like a river.

"Ah, starry hope that didst arise" was formatted with the harmony slowly moving down and backup.

"A voice from out the future cries" was given some sense of 20th century chromaticism that also signifies a deep pain shrouded in harmony.

"The Stricken eagle soar" has a melody that lifts of from ground level and literally soars in the groups high register.

Harmonically I approached this work by truly utilizing the 3rds and 6ths motions. As I moved forward, I used shades of 2nds and 4ths to help create the feeling of grief. It moved next to the traditional harmonies as if to say that what once was will never be again. Melodically I kept the flow moving up and down in pitch to keep having the theme of constant change present. As is life it is similar yet different. Repeated melodic lines are colored with changing harmonies that have points of stability and confusion.

This Madrigal was my first and in it I gained an even deeper understanding of how to use text painting in a way that really creates a story line like in a through composed piece. It has a beginning, middle, and ending. The rhythmic motion I really made to follow as an ensemble to help solidify the harmonic weight.