r/Composition

https://youtu.be/5Ch7xLTWMIc

Throw your opinions at me (1st mov)

Example of modal music that can be looped indefinitely

This is my first composition, a trumpet solo named The Ballad of the Meadow. Any constructive criticism, comments or compliments would be very appreciated. This is my own piece, however i used a Postal 2 referencing pseudonym for privacy. Thanks, Reddit!

I have only been playing for 3-1/2 years and am completely self trained. I improvise almost exclusively.

here is some of my music.

https://drive.proton.me/urls/AHVBT0MGXG#m2vKOnWXsaR5

please don’t judge it u til after you have heard recordings 64-66! in fact listen to them first! they are by far the best!

I am happy to take advice from any of you more experienced peoples 😆

I'm also wondering whether this is physically possible to play without neglecting note durations, what do you think? Feedback on harmony and counterpoint execution would also be greatly appreciated.

New score video for this song I wrote for a solo album. This piece had a lot of imagery to me of a sort of mysterious, ancient sort of place. I really love the aesthetic of ruins reclaimed by nature.

Also on YouTube.

https://youtu.be/SweVHqBCnAU?is=6rOpweobY-CkZGVm

Structures for Piano foreshadows a turn toward atonal improvisation, delving into polychromaticism

Exosomatic organs 

The knife extends our teeth and nails. The bicycle or the car extends our legs. Clothing and houses replace fur and act as a second skin to regulate our temperature. A smartphone or a hard drive (or even a notebook) serves as external memory, extending our brain. 

Test from "PIERRE," music for electric guitar and keyboard, DIM. A recomposition of Bach's *St. Matthew Passion*. 

#BACH

I did a collab of sorts with a few other internet composers; we all wrote pieces using an “autumn morning” theme. This was surprisingly challenging for me; I usually begin a composition with no theme or title in mind, so it was interesting to work backwards from my typical mindset.

Anyhow, I ended up using Chopin’s Raindrop Prelude as textural/structural inspiration. If you want to hear a few other composers’ take on the autumn theme, I pinned the playlist in the YT video.

Score video: https://youtu.be/CnUMyIICpoI?is=AaDiXraDTJ2OTWak

Complete beginner and non-musician here. Not sure what compelled me to try my hand at music composition, but a couple of months later, here we are. Let me know how I did in the comments. Any feedback/advice is appreciated.

If no why, if yes why... i am a begginer composer, Full free score here: https://musescore.com/user/98567428/scores/34211936?share=copy_link

if yes why, if not why (ignore some dynamics weird problems (bugs)) Full Free score here: https://musescore.com/user/98567428/scores/33652229?share=copy_link

Hi everyone!

REMINDER : For those who didn't see my previous post, this piece tells the story of a soldier during the Siege of Paris in the Franco-Prussian War of 1870–1871.

The excerpt is divided into five main phases:

• Phase 1 (00:00 => 00:40): the soldier's unit launches an assault against the enemy.
• Phase 2 (00:40 => 00:51): an artillery shell lands in the middle of the unit, killing the captain and wounding several soldiers.
• Phase 3 (00:51 => 01:10) : realizing they are about to be surrounded, the surviving soldiers are forced to retreat in an attempt to escape the encirclement.
• Phase 4 (01:10 => 01:21): sailors capture several insurgents and are about to execute them. The protagonist opposes their execution and intervenes to prevent them from being killed.
• Phase 5 (01:21 => to the end): fresh troops arrive to relieve the exhausted soldiers. As they make their way along Paris, the protagonist observes the sleeping city. He remarks that its inhabitants are sleeping peacefully, unaware of how difficult the night has been for those fighting only a few miles away.

I'd really appreciate some constructive feedback on the piece as a whole, especially regarding its overall coherence and how well the music supports the different phases of the story.

I'd be particularly interested to know if you notice any orchestration issues, awkward transitions, moments that feel unnatural or disconnected, or anything else that stands out to you as something that could be improved.

I'm mainly looking for honest and constructive criticism, so please don't hesitate to point out anything you think doesn't work or could be done better. I'm still learning orchestration and composition, so detailed feedback is very welcome.

Thanks again for taking the time to listen!

For a long time, I kept asking myself whether musical form has to be designed before a piece begins, or whether it can emerge naturally through the act of listening.

While recording my album Shapeless, I deliberately avoided planning clear sections, themes or a traditional architecture. Instead, I followed the music continuously for 22 minutes, allowing the structure to reveal itself only through the unfolding of the improvisation.

It made me wonder:

Can listeners discover a form that the composer never consciously designed?

I’m genuinely curious how other composers think about this. Do you believe musical form is something we create before composing, or something that can arise during the listening experience itself?

If anyone is interested in hearing the experiment, I’ll leave it here:

Youtube Full Album

Spotify Link