Late Romanticism at its finest. Structurally coherent, full of rich harmonies, with some incredible melodic work, worthy of an actual recording by an orchestra. Be proud of your incredible musical journey, and please continue along the same lines. The world needs more 19th century style orchestral music!
Extraordinary. It really is great art. A marvelous encounter between Russian romanticism and Germanic chromaticism tinged with a few colors of Hollywood symphony which cannot refrain from pointing their noses. All in a formidable mastery of musical and orchestral writing. That sounds almost a real orchestra ; we can listen it as a real record. It is very brave to publish a mock-up of such quality for such a rich, dense and voluminous work, and very generous to make us share this work truly worthy of interest.
For a 19-year old to composer something this audacious and powerful, evoking the Austro-German symphonic school of the late 19th to early 20th centuries and taking it by the horns is downright impressive. I do echo some of the things that are said here, but as you said, you're finding your voice and it's here. It is masterly in spite of some small structural things that can be worked out, but if you do, make sure you do it well. Also, it would help if you separated your brass onto different staves and number them. Overall, continue writing and get your work noticed and assessed. You have the talent, verve and creativity to grow. How do I contact you?
Hey! This is really nice and incredibly impressive, given that you've only been writing for like 3 years! I haven't listened to the whole thing yet, but so far, I really like it. There are many good ideas and organically developing moments and I think if you were to have some structural planning (especially for a piece of this magnitude), you can definitely write something very, very great and cohesive! Definitely keep exploring and experimenting in harmony, there are some interesting spots, but I feel, that it could definitely be spiced up a bit more (maybe more chromaticism or deliberate dissonance, and stuff like that, even though that is personal preference as well) on the whole. Very curious to now keep listening to the rest, and definitely take all my comments with a grain of salt, since I am no master composer of my own of course. P.s: I love the use of Timpani at 8:55!!
You will find your style, but this work is already something really interesting, especially without a composition training. My deepest congrats for this piece of music! Cheers from Italy ;) P.s. I like the last movement very much.
From the scale of this I must admit that the orchestration is really colourful and rich!! I feel like with the vast amount of material you have in one composition alone, you have the potential for writing more majestic works like sonatas and concertos.... especially without proper music theory or composition classes this is a work I look up to very much :D Wonder how you managed to infuse various styles and techniques just from exposure to vids on youtube... I guess it can really teach a lot haha 🙌🙌
Astonishing. I really wished I could compose like this. Just purely organic music. Very often when I come up with an idea, I soon fall down into a theoretical loop hole, which soon kills the creativity and I have to delete it the material and start over. I also find that the process of actually notating the ideas down (i use Musescore) hinders the creative process. Does anyone have any tips? I really want to write a symphony but yeah, I always end up restarting after barely a minute.
Great! Very romantic, reminds me of Brahms largely! Only question/critique I have is to try and specify how many winds you have. Are there three clarinets? Or two? Two oboes? Or one? It’s helpful to have this written at the start of the score. Also, writing “a2” to indicate that both instruments that share the line are playing, or just “1” to indicate that only the principal is. Again, great work! Please keep writing music!
Muito lindo, complexo e dedicado, eu também tenho 19 anos e tu é uma expiração para eu não parar e também tentar escrever músicas lindas como você 👏👏👏👏💐💐💐💐💐
is really great to listen to your music, is obvious that you had inspiration in a lot of composers from the end of the 19th century, i hope you can work with this someday, cuz you music is really great. i would recommend you to use an A clarinet in some moments, cuz as a recent clarinet player, i can say that sharp keys are not really great to play, in the A clarinet it is softened
Hello. I hope at some point you will go to school and study music and music composition properly. You show promise. I know you are not asking for it, by my recommendation would be find someone for the moment you can study privately with, and choose works that are very short and concise. Once you have mastered your basic techniques, if you are still inclined, you can go back and studiously revise this work. Now, I listened to just a few moments of your 1st movement, so I will limit my observations to that. Firstly, you have a tendency to over orchestrate. Spend some time with a few Mahler scores--especially the slower songs in "Das Lied von der Erde," especially songs 2 and 6, and review how many miles a good orchestrater (Mahler was the best) can get out of a 3 line texture, or just vl I, a solo flute, and a voice. So, ms 5, I can't read the notes--they are just too small and fuzzy, but consider splitting your strings so that vl II plays as you have written, both vl I and II with a div. Then div. the va. to pick up the cello/va. lines as you have them. At this early moment of your work, you are already string heavy. What you want to try and do is use the least amount of instruments possible (especially trying to stay away from stings, as they offer the least amount of color) to get the most clarity. And, with clarity comes color. This is why it would be a good thing to review Mahler--with score in hand. Very small point, but publisher and certainly conductor important; at the very top left hand side of the score, mark: "All parts transposed." Under your name write (*** - present--that is your birth date stuff). Again, I can't read your score, but if you are using 2 clars. or 2 bssns., etc, mark at the very left Clarinet I, II or Trumpets in C I, II etc. Make sure these indications are on all pages--not just the first page. On all of those shared parts, make sure to write on the very left next to your clef, "play a2 (or a3, whatever) unless otherwise indicated." This is fine for just the first page of every movement. Ok, back to the music: why so much doubling in ms 10 (triplets with va/cellos/bssn), and up to 4 ms thereafter? The line is extremely heavy needlessly. Ideally, only use 8va doublings in your outermost voices, when they are absolutely necessary. You want to keep your textures as clean as you can--always (even in your loudest sections). Again, I reference Mahler. And, just a final observation, starting at the flute run and the end of page two--they can't cut through your wall of sound. It is not possible, flutes are just not that loud. A thought: score the upper line for picc. The tamber is a bit more cutting, and every good orchestra has a primary flute player that doubles on one. Also, the oboes are not yet in use: double both oboes on the Fl II line. You could continue that for another 3 ms. All of page 3--the same for all the ww's, not just the flutes. you are scoring too heavily., and your textures are too thick. And, I think also your pacing is much too fast. To handle what you have thus far: split your vl II and double with your clarinets. The clarinets are in their "throat tone" range--and absolutely will not carry, even if you stuck a mic in their bells. Then you will be lacking a vl part, so with the non doubling vl's divide them to pick up both vl. parts as you now have them written. But, your ideas on the first two pages don't warrant the heaviness and thickness in both texture and orchestration that immediately follow (page 3). Better to gradually build up so that the listener is fully prepared for such intensity. Again, I think your work shows promise, and to that end your time is best spent with smaller investments of time that allow you to concentrate on some basic principals of composition. I don't know what instrument is your primary instrument (probably not a ww), but in school you will have rudimentary training in all the orchestral instrument--which will help you greatly. Hey, that even includes the harp! So find yourself a good school, keep an open mind (to critiques and new ideas), and you shall do great and learn a hell of a lot! Don't follow through with a good education, and your work will be far less than it otherwise could be. And, that would be a terrible shame for humanity, and probably you personally. Good luck, Joob!
![Try to Beat me at Violin [🎻100 Violin Giveaway]](/img/1.gif)
Late Romanticism at its finest. Structurally coherent, full of rich harmonies, with some incredible melodic work, worthy of an actual recording by an orchestra. Be proud of your incredible musical journey, and please continue along the same lines. The world needs more 19th century style orchestral music!
This is truly outstanding Jonny! Bravo!
Keep up the superb work. This sounds amazing! (:
Damn, I can't imagine how long this took you to compose. What would you say is your most polished composition? Or the best thing you have created.
Extraordinary. It really is great art. A marvelous encounter between Russian romanticism and Germanic chromaticism tinged with a few colors of Hollywood symphony which cannot refrain from pointing their noses. All in a formidable mastery of musical and orchestral writing.
That sounds almost a real orchestra ; we can listen it as a real record. It is very brave to publish a mock-up of such quality for such a rich, dense and voluminous work, and very generous to make us share this work truly worthy of interest.
For a 19-year old to composer something this audacious and powerful, evoking the Austro-German symphonic school of the late 19th to early 20th centuries and taking it by the horns is downright impressive. I do echo some of the things that are said here, but as you said, you're finding your voice and it's here. It is masterly in spite of some small structural things that can be worked out, but if you do, make sure you do it well. Also, it would help if you separated your brass onto different staves and number them. Overall, continue writing and get your work noticed and assessed. You have the talent, verve and creativity to grow.
How do I contact you?
thanks for the thoughtful comment! you can contact me on instagram @jonny.myong or jjmyong@gmail.com! looking forward to talking.
This is outstanding!!!! You're one of the best new composers I've heard here in RUclips!
You are a living legend, my congratulations
Wowwww, this is so beautiful and powerful. I really liked, omg so lovely. Moreee compositions, please.
oh i love this i will be studying as if this was from one of the giants whos shoulders we stand on
"I've been cooking this for a while" yes you did, my boy... yes you did 🫡.
Hey! This is really nice and incredibly impressive, given that you've only been writing for like 3 years!
I haven't listened to the whole thing yet, but so far, I really like it. There are many good ideas and organically developing moments and I think if you were to have some structural planning (especially for a piece of this magnitude), you can definitely write something very, very great and cohesive! Definitely keep exploring and experimenting in harmony, there are some interesting spots, but I feel, that it could definitely be spiced up a bit more (maybe more chromaticism or deliberate dissonance, and stuff like that, even though that is personal preference as well) on the whole.
Very curious to now keep listening to the rest, and definitely take all my comments with a grain of salt, since I am no master composer of my own of course.
P.s: I love the use of Timpani at 8:55!!
Also the bass trombone at 11:05! Such a cool sound and instrument.
I hear Moszkowski Piano Concerto in E (2nd mvt) in the Elegy?
Dang I would love to play this piece someday! Keep writing!!😊😊😊
You will find your style, but this work is already something really interesting, especially without a composition training. My deepest congrats for this piece of music! Cheers from Italy ;) P.s. I like the last movement very much.
From the scale of this I must admit that the orchestration is really colourful and rich!! I feel like with the vast amount of material you have in one composition alone, you have the potential for writing more majestic works like sonatas and concertos.... especially without proper music theory or composition classes this is a work I look up to very much :D
Wonder how you managed to infuse various styles and techniques just from exposure to vids on youtube... I guess it can really teach a lot haha 🙌🙌
Astonishing. I really wished I could compose like this. Just purely organic music. Very often when I come up with an idea, I soon fall down into a theoretical loop hole, which soon kills the creativity and I have to delete it the material and start over. I also find that the process of actually notating the ideas down (i use Musescore) hinders the creative process. Does anyone have any tips? I really want to write a symphony but yeah, I always end up restarting after barely a minute.
Great! Very romantic, reminds me of Brahms largely! Only question/critique I have is to try and specify how many winds you have. Are there three clarinets? Or two? Two oboes? Or one? It’s helpful to have this written at the start of the score. Also, writing “a2” to indicate that both instruments that share the line are playing, or just “1” to indicate that only the principal is.
Again, great work! Please keep writing music!
Muito lindo, complexo e dedicado, eu também tenho 19 anos e tu é uma expiração para eu não parar e também tentar escrever músicas lindas como você 👏👏👏👏💐💐💐💐💐
So beautiful
its really super!
This makes me smile
how did you do non legato for the strings?) 2:29
is really great to listen to your music, is obvious that you had inspiration in a lot of composers from the end of the 19th century, i hope you can work with this someday, cuz you music is really great. i would recommend you to use an A clarinet in some moments, cuz as a recent clarinet player, i can say that sharp keys are not really great to play, in the A clarinet it is softened
oh my god this is really good
Is this a love orchestra or is this a mock-up? I can't tell!
Musescore obviously
slay!
Beautiful! Pure bliss and joy to listen to. You should totally listen to my symphony I wrote :)
These sometimes remind me of Indiana Jones......
Hello. I hope at some point you will go to school and study music and music composition properly. You show promise. I know you are not asking for it, by my recommendation would be find someone for the moment you can study privately with, and choose works that are very short and concise. Once you have mastered your basic techniques, if you are still inclined, you can go back and studiously revise this work. Now, I listened to just a few moments of your 1st movement, so I will limit my observations to that. Firstly, you have a tendency to over orchestrate. Spend some time with a few Mahler scores--especially the slower songs in "Das Lied von der Erde," especially songs 2 and 6, and review how many miles a good orchestrater (Mahler was the best) can get out of a 3 line texture, or just vl I, a solo flute, and a voice. So, ms 5, I can't read the notes--they are just too small and fuzzy, but consider splitting your strings so that vl II plays as you have written, both vl I and II with a div. Then div. the va. to pick up the cello/va. lines as you have them. At this early moment of your work, you are already string heavy. What you want to try and do is use the least amount of instruments possible (especially trying to stay away from stings, as they offer the least amount of color) to get the most clarity. And, with clarity comes color. This is why it would be a good thing to review Mahler--with score in hand. Very small point, but publisher and certainly conductor important; at the very top left hand side of the score, mark: "All parts transposed." Under your name write (*** - present--that is your birth date stuff). Again, I can't read your score, but if you are using 2 clars. or 2 bssns., etc, mark at the very left Clarinet I, II or Trumpets in C I, II etc. Make sure these indications are on all pages--not just the first page. On all of those shared parts, make sure to write on the very left next to your clef, "play a2 (or a3, whatever) unless otherwise indicated." This is fine for just the first page of every movement. Ok, back to the music: why so much doubling in ms 10 (triplets with va/cellos/bssn), and up to 4 ms thereafter? The line is extremely heavy needlessly. Ideally, only use 8va doublings in your outermost voices, when they are absolutely necessary. You want to keep your textures as clean as you can--always (even in your loudest sections). Again, I reference Mahler. And, just a final observation, starting at the flute run and the end of page two--they can't cut through your wall of sound. It is not possible, flutes are just not that loud. A thought: score the upper line for picc. The tamber is a bit more cutting, and every good orchestra has a primary flute player that doubles on one. Also, the oboes are not yet in use: double both oboes on the Fl II line. You could continue that for another 3 ms. All of page 3--the same for all the ww's, not just the flutes. you are scoring too heavily., and your textures are too thick. And, I think also your pacing is much too fast. To handle what you have thus far: split your vl II and double with your clarinets. The clarinets are in their "throat tone" range--and absolutely will not carry, even if you stuck a mic in their bells. Then you will be lacking a vl part, so with the non doubling vl's divide them to pick up both vl. parts as you now have them written. But, your ideas on the first two pages don't warrant the heaviness and thickness in both texture and orchestration that immediately follow (page 3). Better to gradually build up so that the listener is fully prepared for such intensity. Again, I think your work shows promise, and to that end your time is best spent with smaller investments of time that allow you to concentrate on some basic principals of composition. I don't know what instrument is your primary instrument (probably not a ww), but in school you will have rudimentary training in all the orchestral instrument--which will help you greatly. Hey, that even includes the harp! So find yourself a good school, keep an open mind (to critiques and new ideas), and you shall do great and learn a hell of a lot! Don't follow through with a good education, and your work will be far less than it otherwise could be. And, that would be a terrible shame for humanity, and probably you personally. Good luck, Joob!
post your piece so I can listen?