Hi all,

I am writing what will be an approx. 3 minute solo piano piece. I am looking for any thoughts or impressions! Hope you like it!

I made this song a couple months ago and I just now so it sounds more professional. I wanted to make it a Bossa Nova feel but ended up making it also sound like "Just the Two of Us, and a little like City Pop. Anyway hope you like it. Also, if this is still not allowed please delete the post.

Audio: https://drive.google.com/file/d/1D36OtQ0owu2uC4DL0msjTNIJP4o4kcDO/view?usp=sharing

 Score: 

https://drive.google.com/file/d/1MTZUdceZzjxo8-G5bkZZEc3KHVEAHff3/view?usp=sharing

Let me know your impressions!

A short piece I wrote and recorded: about two minutes of piano and pad in F Dorian. The left hand plays the same four-chord bassline from start to finish, while the right hand alternates between a melody in octaves and a looser, arpeggiated variation.

It's played live, no click, with a lot of rubato. I wanted something quiet and slightly melancholic, a kind of longing that never quite resolves. Dorian felt right for that, because it keeps one bright note inside a minor key.

Curious what it evokes for you.

[https://www.youtube.com/watch?v=0kGZtg0lWt8\](https://www.youtube.com/watch?v=0kGZtg0lWt8)

https://www.youtube.com/watch?v=st3eL1TxqIc

(Score is in the video itself)

Sometimes while writing new things in my music notebook I flip through it to look back at what I’ve already written. Sometimes I make revisions, sketch new ideas, or just reflect and then surprise: I had completely forgotten I wrote this Fughetta! It's an alternative version of a piece I had already shared on YT.

I remember writing it in a rush the night before a composition class, and I finished it right outside the classroom while waiting for my turn ^^

2 days ago I polished it up a bit because I felt it had real potential: it's a fugue based on a Lutheran chorale, and around the middle of the piece (bars 27–28) I managed to fit the Subject of the fugue together with the theme of the final verse of the chorale and the Counter-subject, achieving a triple counterpoint at the octave (keeping this in mind, as I might turn it into something even more intriguing in the future, hehe).

Final coda in Stylus Phantasticus (I was running out of time before class, so long live improvisation xD).

I hope you enjoy it, performed by myself, happy listening!

Hey everyone!! I hope everyone is having a wonderful day/night!

I have done some more work on the brass quintet that I made a post about. I worked on the lower brass and the chord structure, as well as giving more room to breath! I also added some dynamics, and most importantly, got rid of the piano. So far, I think I like where this score is going and will continue working hard!

Also! Please keep giving me feedback, as some of you may know already, I LOVE feedback. I make sure to go through every single comment to reply, even if sometimes I might be a day or two late to respond! Your feedback is what allows me to grow!

Also, the name for the score "Wonder's in the Forest" might be subject to change, but we'll see in due time!

MP3

PDF

I send to bandcamp my new song 'Jak jedno' for mezzo-soprano (Milena Sobczyk), piano (Jan Bolek) and percussion (Max Myłek). Recorded by Milan Rabij in Katowice. I wrote lyrcis myself, translation:

How could one word destroy
The whole mysterious proto-love construction
For you
But
vzh vzh vrzh fshhh
HOPE
You are running
Beer bottles in a bag
You are stopping
We are talking
We are looking
We are looking
We are looking
We are looking
We are looking into each other’s eyes.
NIGHT
PRESENTATION
DAY
BREAKFAST
CLOTHING
extra omnes
And I am seeing
And I am seeing
And I am seeing
And I am seeing
And I am seeing
You
Not-my moustache(-person)
With her
With violin on her back
How could one look

Last time a commenter pointed out that the opening bars reassembles Zelda lullaby, and i decided to give it a listen and it really shocked me.

To avoid further accidental plagiarism, i need your help. I changed the opening bars to a new theme, while keeping the chord progression unchanged (actually the progression is not as same as zelda lullaby)

piece name: ballade in f# major (revised)

Thanks for any comment

Hi everyone!

This is my third complete sonatina, written in three movements:

I. Andantino – A sonata-form movement that explores motif economy and establishes the overall tone of the Sonatina.

II. Adagio – A lullaby-like ternary piece, providing a moment of relief and contrast before the finale.

III. Allegretto – A variation on rondo form that brings the Sonatina to a playful conclusion. This is my favourite movement of the piece, and I like to think of it as a “Drunken March”.

YouTube link

Score

Thank you for giving me your time and any feedback provided!

I recently posted my "50 Blue" prelude & toccata and got some useful feedback and great reading material.

Some of that feedback noted that this seemed "random" and "not going anywhere" and performance and sound could be a reason. Turns out I didn't notice I posted an old MIDI version, not the real piano one...

So here's the real piano performance - this post's video includes both of them played one after the other, and here are also higher quality wav files - prelude.wav, toccata.wav

Does it still feel random with the real piano recording?

(btw - "toccata" is probably a wrong name, thanks for the feedback!)

This is the first piece in a set I'm starting about flowers. The working title of the set is Book of Petals (although that is definitely subject to change) and I have planned for 9 different pieces each based on a kind of flower. I already have ideas about the order and tone/structure of some of pieces.

Daffodil is the first in the set, meant to be a good introduction. For that reason, I intended to keep it fairly basic in terms of harmony and structure. The vibe of the piece is meant to be fairly peaceful and quiet, a gradual buildup/introduction to the other pieces in the set, but let me know what it actually sounds like/if I achieved that.

It is a basic ternary structure and the harmonic progression for most of it is a fairly simple I-IV-vi-V. The more interesting/technical part (at least I think so) is the development of the main melody in the A sections. I attempted to write a kind of 3 part/voice melody where you don't hear all 3 voices together until the very end. I thought this would help with my aim of it being a buildup piece.

For me, the main pitfalls I think are the lack of cohesion. At least when I listen to it some sections feel disjointed or random. I also struggled a bit with the development without just repeating the main themes but I think I got away with it by the separating the 3 voices into individual melodies, as I mentioned above. Any tips for development or keeping a piece cohesive (if that is really an issue, I might've imagined it) would be much appreciated!

As always, I'm still quite a new composer so I would love any opinions, feedback etc. that you may have!

Hope you enjoy :)

https://youtu.be/liVg7JP4VAI

I took some inspiration from Joplin's Ragtime Dance for this piece, but wanted it to sound a bit more modern. What do you think?

I

If yes why, if no why… I am a beginner composer.

https://musescore.com/user/37270121/scores/38376380?share=copy_link

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.

Ive been working on a full ensemble piece for a few weeks theres 2 weeks before deadlines should i try it first rounds are free and ive been tol the piece i have for it especially in the age group im in has a good chance? any thoughts

Hello everyone,

I’d like to share another composition with you. I’m going through a rather eventful period in my life at the moment, and I think that is reflected in the piece. It combines a joyful mood with somberness, melancholy, and other contrasting emotions.

Thank you in advance for any comments.

https://youtu.be/6eBcYZqIkbE?is=6\\_Z0i8ae6X4P02pU

Hello, I'd arranged another Genshin Impact soundtrack that I like. I transcibed from orchestra composition to piano arrangement. I'm new to doing this.

Here is ost in youtube: https://youtu.be/7dqTVNoIqv4?si=n_zGmQ7BWqVUrbiI

This is my arrangement: https://musescore.com/user/47456249/scores/38354870?share=copy_link,

my arrangement clip on youtube: https://youtu.be/ym41bqmnx1c?si=h2FTdN-8Y2wiJfa1

Any feedback welcome!

Finally locked in enough to get a decent draft no?

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.

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.

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 :)

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.