I finally broke down like many of you and decided that the old thread was too cluttered to maintain after the forum did the format switch and all our files were deleted. So, this stuff isn't new yet. But some of that will come soon, I promise.

Requiem Prelude:
This is the organ prelude to a requiem that I tried writing as my first composition. The requiem failed, but now that I have more experience and know-how I'm trying to revive it.

Guitar:
The only thing I've ever written for guitar. I don't play guitar, but I wrote it for my friend who does.

The Right Spring:
I was listening to the "Rite of Spring" once and thought, "this doesn't sound anything like Spring to me." So, I came up with this snarky title and piece for harpsichord, cello, and flute. This later became one of my favorite instrument combinations, usually replacing the harpsichord with a piano.

EDIT: Oh yeah, please feel free to review and critique. I appreciate all comments, especially the negative ones.

I didn't really enjoy any of them (I guess I'm not really into this style), but I think the last was the best. :heh:

I like your Prelude Requiem. I wish the organ could sound a bit stronger, though (not your fault at all, though.) The song you said was a canon doesn't seem to follow the pattern for canons all that well. It's a nice song, though. It just got kind of boring after a long time of that. The guitar peice needed a better melody, and the block chords of the guitar didn't sound very well. The last one didn't seem to have that smooth of a transition.

Here's my latest! It's a Bourrée for Cello.

Critiques, compliments, and criticisms are always welcome.

The cello sounds so warm, especially in the chords and due to your sound font. However, some of the running melodies were hard to follow, not due to the speed, but due to the twists and turns. It needs to be more memorable. This wasn't made easy for you, due to the fact that you were writing for a solo melodic instrument. Good effort on tackling this challenge!

Yeh, some of the passages are really chromatic. I'm not sure what a "Bourrée" is, but it felt kinda like a fantasia to me. The form and phrasing is kinda free, especially with the lack of accompaniment. Outside of the harmony, it feels kinda Bachish really, in my opinion. Neat stuff.

A Bourrée is a baroque dance, so you were right on the money.

Here's two songs for Violin and Cello. You might recognize the second as a re-arrangement (fine... a remix) of one of my old pieces.

Finale did some weird stuff to the first one. In terms of dynamics. I apologize.

As always, comments, suggestions, and ratings are great.

Ok, this is my first attempt at an orchestral work. It's the beginning of a symphonic poem called "Journey to Elysium." The reason why it's just the beginning is that I realized that it was going to be too long to attach to just one post. So, the text for this part is:

"An old woman goes to bed, knowing that tonight is the night she will die. The fear of death engulfs her and right before she loses consciousness, her clock chimes 12:00. She thinks back on her childhood, her youth, and her success as an adult. Suddenly she dies.

"She finds herself on a strange island with the fellow dead. A drummer is beckoning her to enter a boat on the black water."

It's scored for flute, oboe, bassoon, French horn, trumpet, trombone, baritone, tuba, timpani, bells, Violin I, Violin II, viola, cello, and bass.

Suggestions, ratings, comments... all are welcome.

I don't want to sound needy, but I really would like some feedback on my last post. I'm trying to decide where to take it, or if I should revise it. I'd really appreciate it.

I like the piece so far - though I thought her death part is a bit too dramatic, almost as if she's dying in battle :P - I'd twist the rhymths and chords around some more to portray a sense of fear. Also, end of the reflections part sounded a bit too cheery - the disparate range of moods almost makes this to be comedic, which I don't think you were going for.

Musically, I quite like the minimalistic development of the themes, and the sharp transitions work pretty well in context (the only oddity I've found is the melody ending at :35 sounds a bit out of cadence - tnot sure if that unconventional resolution was intended). Though it doesn't paint quite the picture you intended (for me, at least), as a stand-alone music it's certainly enjoyable. Good job.

HAHA! You all thought I was dead. You were wrong. College has sucked away all of my free/composition time, but I did manage to crank out a little fugue for piano this weekend. I rarely write for the piano, so I still feel kind of akward at it. Tell me what you think.

It's very cool. I would like it better without some of the clashes at the beginning. Volume transitions at the beginning were a bit strange, too. I really like the over all composition, though. The key changes were very interesting. The part at about 1:10 sounded like it was building up to something, but nothing exciting really happened.

Ok, I was just screwing around with some soundfonts this morning and this is what came out. My favorite is the first Remix. Do tell what you think.

I'm not into this style, unfortunately... :unsure:

I guess I should have noted that they're remixes of the fugue for piano a few posts up. They're remixes of the fugue for piano a few posts up.

That was the most original fugue I've ever heard! lol Now it's gonna be stuck in my head all day! XD It's good!

Hey, thanks!

Here's installment #2 of Journey to Elysium. This isn't a seperate movement, it starts on the same beat where part 1 ends, I just can't post it all at once due to size limits. And I'm still not done. I think it'll have one more section, probably not as long as these last two.

Anyway, this one is supposed to be kind of dreamlike, floating from theme to theme with a few reoccuring here and there to tie it together. One of these themes comes from Alfonso el Sabio's (the real life Spanish King) "A Virgen" from his "Cantigas de Santa Maria." It's the melody the bassoon takes around 0:45. However, all the counterpoint and accompaniment are original, as well as everything else in the piece.

I always love feedback.

Nice job with the orchestration and dynamics - it feels even more polished than the last one. Personally, I'd preferred a more subdued and ambivalent sounding piece, being dreamlike and all, but I guess this more straightforward approach works alright (though maybe more sudden tempo/key changes can help emphasize the transition between the dream scenes). But overall, it was quite enjoyable - I look forward to the next installment.

This piece is "A Waltz for Harp." I just named it in German because I was in my German class when I scribbled down the first notes and title. I get bored occasionally.

It gets pretty weak and the melodies are not my best; but hey, I think you can still call it music.

So here it is, "Ein Walzer für Harfe."

Those harmonies are excellent; great for the mood. This is not your typical waltz, but that's what I like about your piece. Some of your rhythms (the syncopation parts and the triplet section) were an interesting stretch from the norm. As for your melodies, there wasn't anything wrong with them per se, in terms of structure and phrasing. Certainly, they were simple and clear, easy to follow, everything you'd want in a melody. But they only lack in the strength to stand out and be memorable. However, I kind of like it this way. It's sort of like music you can play in the background while contemplating over something.

@Shizeet
Thanks. I look forward to writing the next installment. I'm thinking it will be the last.

@Al
Yeah, I think it works best as back-ground music. I got excited about the syncopation because of this bizarre syncopation we're playing in my Strings Orchestra. Listen really carefully to the pizz. of the celli in the opening of Rutter's "Suite Antique." (It's on Rhapsody, if you have that.) It felt SO random at first, but I gradually learned to love it.

Since I have just started putting feedback and listening to your music, I cannot post all my "likings" or anything else on all of them. From now on I will.

Basically, you have great composition talent. You seem to stick to Classical, but much like me, acidentally have different rythums like some of today (just a little influence, not a whole lot).

Last weekend my oldest sibling had her first child, making me an uncle. For this event, I wrote a lullaby. Someone is working on the words for me right now, and when that's done all my brothers and sisters have said that they'll sing it to their children and their children's children. It's a pretty simple tune, but it feels cool crafting an heirloom. (If anybody else has some lyrics they'd have for it, I'll gladly consider.)

So here 'tis: Berceuse

It's a very pleasant lullaby. :) Good job.

Yea, it's very relaxing.

This is the beginning of the 3rd movement to my piano concerto in g minor. I've had "writer's block" on it for more than half a year and figured it was time to ask for some help. I would really appreciate any suggestions on how to continue the piece. Thanks.

A piano concerto is quite ambitious, good luck with it!

Well, I don't have much to say . . you could analyze other piano concertos. Observe techniques that other composers have used. See what patterns they used, and figure out how they made certain ideas repeat in various places.

What helps me is that I try to figure out the entire structure of a piece before I start working on it. That way, I know what to expect, and how to work towards that goal. You could try to maximize the potential of the orchestra, for instance, give different groups of instruments the spotlight occasionally. It's also a good idea to play on the interaction between soloist and orchestra.

Come up with motives/sequences. They'll give you something to work with, and they'll also connect your piece together in unity. Actually, you already have some good motives, but now you just have to recognize the best ones and then take advantage of it!

I felt that around the 2 minute mark, the octave passage, was a bit weak, but I don't know why. But personally, I sensed that you were having a difficult time figuring out what to do next (please don't take offense!). But the 2:45 mark was amazing! Such virtuosity in the piano! I only wish that the orchestra could have backed it up at the same time to make it truly grand and impressive.

This was originally going to be the third (and final) movement for a little mini-concerto for piano and strings orchestra. But I think that I'm going to scrap the first two movements and totally rework this third and write it for a larger orchestra. When I wrote the first two movements I hadn't actually been in an orchestra, and now that I have, I feel more at ease writing for one.

I also got to see a piano concerto last night that has really motivated me.

Yeah, I agree that the 2:00 minute mark got a little weak. I was trying to have a little mini-minimalist section, but you could only hear a few of the counter melodies.

I kind of felt a little dirty writing that part around 2:45. I could never play that. You would need some serious guns to pull it off.

Thanks so much. I was starting to worry that I would fall into the cracks. I think I have a pretty good idea of where I want to go with this.

I think this works pretty well in terms of themes and whatnot, just feels incomplete in terms of orchestration and arrangement. So as you've said, score a larger ensemble and make more use of it - right now, there really isn't a whole lot of interplay between the piano and orchestra.

Piano Concertos, my favorite things to hear of music-and critique if that.

It starts out with a very nice Chopin and Beethoven influence (not comparing, just giving you the feel I got from it) and has oddening and lovely minor melodies, as well with major ones, too.

Overall, I would give this a 6-7/10 actually. Some parts seem random or a dissonance that went on a little bit too long. About after the middle part (just a little bit) it seemed to get very random-I would look over that spot a little bit.

The ending was nice, it was HOW it ended that gave it an "unfinished" feel to it, but I do not know if this was a draft of some sort. I love how you can make those wild notes, and tame them into melodies like Chopin could. I see much of the Spirit of Music in you as well.

Keep up, and work on those spots if you will.

It has a few crappy moments, but overall, I enjoyed this piece. :)

Ok, I took everybody's advice and planned this one out. I also am using a former theme of mine for the main melody of the concerto. You'll hear it right at the end of this sample. So tell me if you think this is an improvement, and especially let me know if you have any other recommendations. You all have really helped this piece already. By the way, this is just the first couple minutes. Writing for a full orchestra is time consuming--especially for those big chords I have for the strings. You have to think, "ok, what would be a good fingering for the bass/viola/cello/violin I/violinII, that would also get out as many notes as I can." Ugh.

EDIT:
I still gave the piano a long solo at the beginning, because I want to give the soloist a chance to set the mood/pace for the rest of the piece. But I did add a whole lot more interplay and dialogue between the soloist and orchestra.

Ok, no takers on the last post apparently. Here's a piece I've been working on for the past few weeks. It's arranged for a strings orchestra and a solo Oboe, Clarinet, and Bassoon. The title: Songs for a Hormonal Teenager. Comments and suggestions are always welcome.

Concerto
Much improvement. The orchestra sounds full, there's more interplay between the soloist and orchestra, etc. But how dare you end off the sample at that exciting part! Haha . .

Songs for a Hormonal Teenager
Very interesting song. I applaud your orchestration and contrapuntal writing. I had inticipated mood swings due to your title, but this was not the case. Still, the shifts in mood were present, though subtle, and in hindsight I think it was more effective this way and very well-done.

You're not going to believe this, but the piece I've been working on for a week or so is called "Étude for a Hormonal Teenager." XD What a crazy coincidence. O_O; My interpretation of the idea is more like what Al had in mind-- very different from your vision. I do like your orchestrations, though; they're very nice.

EDIT ~ I've decided that I'm going to think of another name for my Etude. >>; It's not really fitting the aforementioned one well and it likely never will. XD

Afonso de sabio, may I ask what grade are you in piano

@Al
I'm sorry to leave you hanging. I was in a hurry to get what I'd done critiqued. Thanks for the compliment for my orchestration/counterpoint! I really worked on some of that counterpoint. And yeah, it wasn't as moody as some (most) teenagers I know.

@Ureshii Gaki
That's so funny! I was listening to Satie's "Drivelling Preludes for a Dog" and decided to adopt his approach to naming music. I'm anxious to hear your take on hormones. haha.

@animelova
I'm guessing you listened to the concerto. Actually, piano is not my forte. (Buhzzzzzzzzzzzzing!) I don't even know what my grade would be. I'm good enough to pass the "piano proficiency" test at my University. I'm a much better cellist and organist than I am a pianist. Sorry.

hey Alphonso Iwas just curious, what country are you in, and why the heck are you so good in music. You're really a good composer , I've herd your compositions and all of them are great.:heh:

Hmm... That concerto one kicks ass! XD

Now that you mention Satie, your latest piece does remind me of his stuff a bit - somewhat humorous, but in a restrained, non-chalant way. As the others mentioned, the orchestration and use of counterpoint is very nicely done for this piece. It was rather moody, though it sounded more like an emotionally depressed/bipolar adult than an hormonal teenager :P. In any case, excellent work. Definitely one of my favorites :).

:cold: :kirby: :drinking: :torch: :polish: :lock: :drool: :thumb: :ichigo: :kiss: :yes: :sorc: :eat: :photo: :jerry: :dots: :glare: :smartass: :gramps: :rolleyes: :woohoo: :death: :sick: :mchaggis: :bigsmile: :

the concerto is nice isn't it

@ animelova
If I've gotten any kind of skill at composition it's because I study, critically listen to music, practice my cello, go to classical concerts, and read books on the subject all the time. I'm not a "music major," so that really cuts into my GPA. (But I'm planning on fixing that soon)

@Marlon
Many thanks!

@Shizeet
Yeah, maybe the title is misleading. But I value your compliment. I've been a long-time fan of your orchestration.

@animelova again
I'm not really sure what to make of that.

This is my Étude in C minor. It was originally going to be a piano piece, and I'll probably still do a piano version, but halfway through I thought...TECHNO! Tell me what you think.

EDIT:
I added a second version. It uses a different soundfont.

Heh, quite a charming piece. I think I like the version with the more "pizzy" synth - gives it a more percussive feel. Speaking of which, if you overlayed a drum loop over the piece, it'd really sound techno-y. Right now, it just sounds like a classical piece with a patch change.

Your last sentence made me literally laugh out loud. Yup, that's pretty much what it is.
I'm not really sure how to add a drum loop. I was just using Finale 2005, and switched the MIDI outpoot to a soundfont I'd downloaded. I'm pretty sure I'd need some different software.

If you want a really good drum loop creator, check out "hammerhead." It's really easy to work with and you can export the loops to a .wav format and then mix it with your song. Check it out at:

http://www.threechords.com/hammerhead/introduction.shtml

I use it in a lot of my music. It works great.

Eh, I don't think I have the mixing software.

Ok, Al just did me the ultimate favor and recorded the piano version of my waltz for harp. It's retitled "Rhynchocephalian Waltz." I'm probably partial to the performance because it's my composition, but I think it's amazing. I especially like how he did the syncopated section.

(Rhynchocephalian Waltz) I'm uhhhhhhh, I didn't like, it. No offense but it wasn't appealing. It pushed me away. Its an opinion, if I critique, you will get the wrong info. So keep in mind, create more different types of songs.

Please define "more different."

Just saying that you don't find it appealing is not enough for constructive criticism.

@Alfonso: My favourite part was the triplet section!

Please do more variation in the music, don't just stick with slows tempo songs. you have places where you may repeat and speed up that portion. It would add much more originality.

I invite you to listen to the piece I posted right above this one. I don't "just stick with slows tempo songs." Also, there's speed variation within this piece. There are a few runs and then there's that whole triplet section (@Al, yeah that's definitely my favorite part to play).

It's not that I can't take criticism. I totally reworked my piano concerto based on the helpful criticism I got. Your criticsim just seems vague and bogus. I'm trying to find what you don't like about it.

It has been a LONG time since I've put up a composition, but I can explain. I just moved from one end of North America to another, my computer's hard-drive exploded, and I'm getting ready to move to the other side of the world. So I'll be posting a good bit up here soon. The first one I want to post is called "Nocturnal Night Nocturne in C# minor," or as my friend affectionally calls it, "N squared." It's mostly based on Glass's minimalism. I also have some references to Moonlight Sonata and Danse Macabre. I apologize for my piano playing, and for the piano's need for a tuning.

Enjoy, and tell me what you think!

Hey! Welcome back! And hope you had a good trip!

Good come back Alfonso! Great song!

Loved it!

(Piano made it rough, heh..)

Hey I wrote a nocturne in C# minor, heh. Great key. Your composition sounds good, but a bit too rough for a nocturne I think. Those main sections you used should imo sound more echoing to symbolize the night more. Apart from these little things, I think it's pretty good :)

i really dont care for ur compositions. Its not that they are bad its just they arent my type of music (too much disonance). U seem to be between a romantic composer and a contemporary one. Other then that keep composing!

Thanks guys. @Pianomanec, watch out for the piece I post right after this one. I'm pretty sure you'll hate it.

This next one is just a little melody I wrote for the cello. Have mercy on my playing--although the tune itself isn't that complicated, it's in a high and awkward part of the cello. It's called "Short Sad Song."

Pretty nice tune, but the double stops seemed a bit awkward. I could imagine this being played on a violin, with some subtle accompaniment. It does have a good melodic pattern.

Yeah, the first double stop was an accident, and the others were me trying to cover my error. heh heh

Hey, it's good. I like it. (Not as bad playing as I've heard-trust me)

Sounds a little Japanise. :P

Cello solos are usually nice to listen to =) and you brought out its beauty.

Very nice. I adore all string intruments and u seemed to play with great musicality. This in my opinion is one of ur better pieces. It reminded me of music from schindler's list.

Nice. You play the cello very well; it could do with some accompaniment, though. Some notes seemed rather out of place/random, too. Other than that, an excellent tune. :)

Yeah, I'm working on an accompaniment now. Thanks for your critiques.

This next piece is a serenade for three cellos (celli). It's in bridge form so it goes A B C B A. Tell me what you think.

Very, very good job my friend.

I loved all the partes, but the soundfont seemed to 'drag' everything on since you couldn't always pick out the three cellos. I loved how you put your latest Nocturne in the C section (noticed the chords) and I liked that spanish part in the B section. The A section, however, was my least favourite. It just seemed to get kind of boring. Maybe shorter 'long' notes would be better, instead of the 4/4, only do half the measure with a kind of marc. release?

Just some suggestions, anyway, keep it up.

Nothing really drew me in... I don't know, it just didn't ctach my attention for some reason. Maybe it's because it's an accompaniment, LoL. :lol: Oh God, wait I change my mind after about like 1:50. Haha. I like that part. :) I agree with Maestro, though, about the A section. :heh:

Yeah, I think I'm going to cut the repeat of the first section.

This would sound heaps better if played by actual cellos. Those string sections are too overwhelming.

i usually hate etudes but this is really nice =/

cus it sounds very.. uhh complete at times... theres lots of tension lots and lots and lots, but when they resove even in the etude form it really nice 0_o

Uhm..

For the record, an Etude is a Study, not a form. Not a form at all.

It's a study for playing or sharpening skills on playing an instrument.

I'm BAAAAACK! It's been kind of crazy and busy, and I moved to another hemisphere, so that's been taking up a lot of my time. I did, however, just finish the first movement to my piano concerto. The only problem is that the file is too big for me to post in one piece, so I'm posting it in two parts. There isn't really a divide here, so pretend that it flows perfectly together. Thanks.

Tell me what you think!

EDIT:
I took off the attachments and put a link down below.

Lovely. The strings with the quick, grace-like notes in the end of part 1 - beginning of part 2 seems a bit rough around the edges. All I personaly didnt like, but its just RD. I like the peice.

*welcomes back*

I'm glad you liked it!

I fixed the problem of the two parts. Future listeners, if you would kindly just click on this link:
http://two.xthost.info/AlfonsoDeSabio/Compositions/Concerto%20for%20Piano%20and%20Orchestra.mp3

WB You moving whore. :P

Anyway, I liked it a lot, though some places were odd--still caem out good.

VGJ.

NOTE : I'm Maestro~

I liked this one... I'll give in-depth comments when the contest voting/reviewing is up.

WB You moving whore. :P


Tell me about it. And I'm moving back across the world in a couple months.

@Noir7
I look forward to the criticism.

I posted a live recording of this song's melody a while back, but people wanted me to write accompanimnet for it, so I did.

Here's another version of "Short Sad Song."

you shoyld really try to slow this one and keep it very simple.

in my opinion keep the strings low and moody.

Your post makes me think I didn't explain this well. It's supposed to be a song for cello and piano.

If you want to hear the live version, just go back to the last page.

So my last piece wasn't a big hit.... I can live with that.

So I've been in Germany doing some research and studying, and my friend is researching women's colonial poetry. He came across this anthem about the German colonies, but he couldn't find the music. He asked me to write some music for it, and it'll be performed next year at our University. Tell me which version you like better--the solo one or the choral one.

I've attached a PDF of the choral one so you can see the words. Also, here's a really literal translation. I would like to make it clear that I (of course) do not support German imperialism, or imperialism of any sort, I'm just doing this for academic purposes.

Thou Land far over the Sea

1There is Land that belongs to us
Through the power of our Fathers,
Where they with Spear and Sword
Created our right to a Homeland

That which they fought for with Blood and Sweat
For the Future Generations,
We will never ever abandon it
We demand our Right

Chorus
We don’t want to stand to the side
Let us go to the battle
Until German Flags wave again
In German Colonies

2Where German Men, German Women
Stand at their posts
And full of faith and trust
To see the distant Homeland

Where they often work hard
On a lonely silent farm
With hope based in our new power
And our strong arm

Chorus

3The Land it is as a silent dream
The Youthful heart is envigorated
Give our children new Space
That develops their new powers

We are indebted for it because of our Fathers' actions
And our childrens happiness
We are defying the treachery son of others
And we are demanding that it be returned

Chorus

4To our people to our empire
To our german defense
It belongs to you and the others just the same
Thou land over the sea

We aren't asking, we are not becoming timid
It has to do with bread and flocks
To stand for you is a holy duty
Thou Land far over the sea

It does sound like an anthem of some sort, which is a good thing! I'm not too fond of this style though, so I don't know how to tell you improve by style.
But I do see some mistakes... Like in your score at bar 9, that chord should be somehow resolved better. Also, when writing for SATB in 2 staves, make sure S and A, T and B each have their own stems!

@ Sir Dotdotdot
Thanks for pointing out bar 9. It has a much better resolution now. How do you do seperate stems in finale, besides having everything in multiple layers?

I'm going to put up the pdf for "Nocturnal Night Nocturne," and if anyone wants to make their own recording of it, feel free--just make sure to send me a copy. I just got this nifty pdf writer, so if anyone wants any of my compositions in pdf form, just let me know.

For the nocturne, I intentionally left out a lot of dynamic markings, because I don't want to confine the performer to a specific interpretation. (That's one reason why I like playing Bach's Cello Suite--because of the freedom of interpretation.)

This next piece of mine is called "Fantasy Fantasia." It's written for SATB, harp and bells. Tell me what you think!

EDIT:
Here's another piece I just finished. It's a toccata for Organ in f major. Once again, tell me what you think!

It's pretty nice overall, but there are some awkward parts here and there though. My suggestion would be to add some light harp accompaniment in the first minute or so as it was quite dull having the choirs repeating and all that... But it's pretty good overall... I like the bells, lol.

I disagree with Dotdotdot. I think this piece was very dull and flat throughout the entire track. One reason being the monotoneous choir repeating that 2-2 rhythm, the second being the lack of variation and theme. The bells and harp didn't give the piece much, since the overall sound already butchered the song.

Soprano-Alto-Tenor-Bass songs are usually enjoyable to listen to, but it seems like you don't know what you're doing here (Which is strange, 'cos I recall you know your way around most things...).

I agree with Noir7. Honestly, the piece was really self-indulgent. I was in a mood where I really wanted to play an RPG or read a fantasy novel, but had access to neither, so I wrote that really crappy, self-indulgent filth.

But what do you think about the Toccata?

I have no idea of what a Toccata is, but here goes.

Definately better than your Fantasia. It's not really what I like listening to usually, but the two-chord-pattern-thing does give this song character. How cool would it be if it developed itself into a fugue? :O

the prelude is very nice, it's not every day I hear the organ as instrument of choise, and I like it like that.

Ok, I changed the ending to the first movement of my piano concerto and finished writing the second. The main theme appeared for a few seconds in the first movement, but it undergoes a lot of variation in this movement.

The second movement is based on Franz Marc's painting, "The Tiger" that I saw in Munich a couple months ago. This movement is supposed to communicate the kind of exotic nature of the tiger that the painting portrays. Here's (http://www.kunstreplik.de/images/product_images/popup_images/89.jpg)a link to a copy of the painting.

So here it is, "Moderato." (http://two.xthost.info/mlawrencewyatt/Music/Concerto%20for%20Piano%20and%20Orchestra%20II.mp3)

As always, tell me what you think.

I thought the opening was VERY clustered and muffled. The flute melody, "The squeaks" got annoying. The accompanyment was not bad. When you did the fast waltz, I was expecting a more of it. A bit disappointed to find it gone before it settled. Brass choir was not bad around the middle of 3:xx there. The resolution of the piece could have been better. Especially since your main melody was such a large tuti, I was expecting a more dramatic finish.

I almost never do this, but I really think your last post was bogus. For starters, my main melody is never "tutti." I think that at most it gets doubled once, maybe twice.

That clustered, muddled part in the beginning is called a chorale. Although mine is certainly not as good as those by Dvorak, it's no more muffled.

Also, I'm sorry that you don't like flutes, but in your defense, on some speakers, that does sound a little piercing.

It's not that I don't take criticism. I totally reworked my first movement based on people's criticism, and I recently rewrote the ending to it.

I was just browsing through your post and I've come upon your composition: Ein Walzer fur Harfe . (I know that it's a post that's outdated but I just had to comment on it.) As a harpist for the better part of three years and a winner of a few local competitions in the area given that I'm playing a nearly extinct instrument I'm rather glad at the fact that you took the time to try and explore a rather difficult and mostly misunderstood instrument, which I do not fault you for.

However your waltz is better suited for the piano. Harps are instruments built for sonorous chords and powerful rolls. Your standalone treble clef parts make it too much of a piano piece. It's not your fault for not knowing such intricacies of the instrument due to the fact that information on it is scare to those outside the harp community. Composers mostly put in rolls or just a few plucks here and there during the discourse of entire orchestral pieces. Many harp composers are actually harp players who grew weary with the apparent lack of respect in music choice for them.

Also another factor that many people are ignorant to about the harp is that the majority of concert harps, the humongous nearly 6ft instruments have seven petals at the base to change keys which is extremely difficult since playing the harp with various key changes and accidentals requires the mutli-tasking of four limbs simultaneously, making accidentals and key changes nearly impossible within a split second.

The smaller lap harps are even worse since key changes and accidentals require the flipping of levers. (A real nightmare I assure you since constantly having to flip levers requires multi-tasking skills that are on par with Centrino Duo's processors.)

In spite of my criticism I'm glad that you've put effort in exploring the harp. A great study for possible future harp compositions would be Carlos Salzedo, a well known harpist and harp composer. I happen to like a few of your compositions and hope to see more works by you sometime in the near future.

I almost never do this, but I really think your last post was bogus. For starters, my main melody is never "tutti." I think that at most it gets doubled once, maybe twice.

That clustered, muddled part in the beginning is called a chorale. Although mine is certainly not as good as those by Dvorak, it's no more muffled.

Also, I'm sorry that you don't like flutes, but in your defense, on some speakers, that does sound a little piercing.

It's not that I don't take criticism. I totally reworked my first movement based on people's criticism, and I recently rewrote the ending to it.

I relistened, and relistened again. I still stand by the muffled beggining comment. The area around 0:02~0:10. I'll take back the flute because I'm willing to say it is probably due to my speakers. As for the bigger finish, that was purely out of my own taste. Also, I was refering to the section where you had most of your orchestra playing when I said the melody around 1:20. It is not a very big tutti I guess, and I thought tutti meant an area where much of the band/orchestra is playing. That is why I thought the ending should have been similar to that section.

Also, I know that the last comment probably rubbed you the wrong way and maybe I could have said it in a better tone but please don't say it is bogus. I never bogus on my comments, I give comments based on my personal opinion since music don't exactly have a distinct fact but I am always serious about what I say. I may have sait all those things but that does not mean that I did not like your piece. In fact, you're one of my favorite composers on this forum.

If my previous comment offended you, I appologize. Still, I don't really appreciate the fact of it being claimed bogus.

Peace!:lol:
KK

@Cereus
Yeah, I looked into the harp after I wrote it, and realized that it was not suited for that instrument, so I changed the name of it and reworked it for piano. There's a recording of Al performing it on this thread under the title of "Rhynchocepylian Waltz." I guess the piece is now just in the spirit of the harp. But don't complain to me about pedals--I'm an organist.

@KaitoKudou
Sorry about calling your post bogus. I see your points better now, and you have the right definition of "tutti." I thought that "tutti" also implied "unison," which is quite wrong. Apologies.

I would like to wish everyone a merry Christmas, and also to say goodbye. I'm going to be stepping out of the Ichigo's scene for about two years. I'm moving to Toronto, and I'm leaving my computer behind. In parting, I'm going to post a piece of mine from a long time ago, but it's still one of my favorites. Enjoy.

Darn...

Bye bye.

It was nice to have you hear for the year I was here Alfonso. :cry: I'll miss your compositions, and prayers for moving to Toronto, and would love to see your return in a few years.

Don't forget about us! ;)

It's been nice knowing you :) Come back soon!

Bu bye. You'll be back..

Crawling back

in two years

you will be missed.