What a refreshing piece with a pronounced "classical" discipline to it. Nice to see that composers will still steer into the past for inspiration. Awesome job!
There’s a lot of good stuff in here! My biggest piece of feedback is try to vary the texture. There’s too much tutti-it will wear out the audience’s ears and the woodwind/brass players will struggle. It’ll also make the times when it is tutti more impactful, rather than tutti being the standard.
@@calebshepard8005 That is the curse of notation software with playback. I often run into the same issue. Something I’ve found to be helpful in making more interesting orchestration is printing out a piano reduction (though you could do it with strings) and assigning things to different instruments with colored pens.
@@calebshepard8005Maybe you can also try to write it by hand at the piano, and then transcribe it to the notation software - it will help you to not overly complicate it
@@calebshepard8005 What's helped me a tooon is to practice species counterpoint. Specifically, I'd recommend Jeppesen's book, since the focus is on getting out of the Baroque way of thinking in terms of chords, and returning to the Renaissance emphasis on thinking in melodic lines.
Fair criticism. I see a little too much parallel motion for my taste. Mix up the independent parts and try to give each section the most interesting independent lines possible.
The melodies were very enjoyable, and I liked the direction you took with all of them. Really found the integration of the upward graces notes from the first movement in the finale extremely effective. The second movement was very idyllic, sounded like a walk through nature. I think you could improve your instrumentation. The sounds the computer gives you for each instrument don’t really help in influencing your decisions, so try your best to use your eyes instead of your ears for that in particular (I know, against everything you’ve ever learned). That said, don’t be afraid to cut back on the instrumentation when the music gets softer. You did better at that in the finale. I would also recommend cutting some of the repeats. There comes a point the audience has heard a single idea so much that it needs to be transformed into something else, even if just as a little variation (this is where instrumentation becomes crucial). Using a diminished chord as the basis of a few sections could work to make things more interesting and dramatic. Your melodic gift is strong enough that this could be done handily. How come you ended the finale so unceremoniously? It felt like the whole symphony was leading up to some sort of triumphant fanfare.
Thanks for your comment, I appreciate it! Yes, instrumentation is a skill I’m very much still learning haha. Thanks for your kind words! I ended it the way I did precisely because I thought it was too loud for too long, plus as just a little joke!
Hey Caleb! This is a pretty good sample library, esp. with those French horn legatos! I like your two subjects you introduce. I would experiment with different tomal centers, textures. I’m a composer as well and I’d love to hear more about your music journey!
@@calebshepard8005 I use a library from Native Instruments when I record in Logic. Actually I’ve been looking for composers to write collaboratively with. I’m wondering if you’d be interested.
Hallo Caleb! I am attending a high school with a music department in Japan. My compositions are influenced by Beethoven, but Haydn was Beethoven's teacher, so I thought this Symphony No. 2 was really wonderful. Let's study together!
Bravo! There were some really nice moments in there that I really enjoyed listening to. Good job on finding such good sound fonts as well; I could almost believe that I was listening to a real orchestra. It's also incredible that you were able to complete it so quickly (6 days, 30 mins, is insane). However, I find, as well as many others before me, that you have stepped into the trap that a lot of people fall in, including myself: over-orchestration. The rests on a page can be intimidating, but some of the nicest moments in here were with only two or three players vs. tutti. Further, I think that you would benefit from trying out more instrument combos. They work well in maintaining interest! I loved this :)
Thank you so much, that’s very kind of you to say! I will definitely be improving my orchestration moving forward haha. The sound fonts are just the Musescore 4 sounds!
Is there a reason that the lines are flipped in some areas? If it's because you're putting the more difficult lines in the first instrument, prioritize range over difficulty. The 2nd flute should not be treated as the less skilled flute, but the flute that plays the lower lines. Unslurred notes in the winds (woodwinds and brass) will generally be interpreted as being seperated unless otherwise notated--especially the quick notes. Add some more slurs unless that's the sound you want. You'll be surprised at how long winds can slur. There are also some places that should probably be slurred in the strings (e.g. 6:01 in the first violins). Also, slur the grace notes (I know that musescore is weird about that; you have to Ctrl select the grace note and the regular note to get it to slur). You need to specify whether or not the flutes, bassoons, and trumpets are playing a2 (both instruments at once) in the single lines. And when they aren't, specify which instrument is playing (using "1." and "2."). Many people are talking about the lack of trombones. I don't see anything wrong with it. You're using the instruments that you need, and nothing more. That's good.
No hablo inglés pero quiero decirte que esta es una maravillosa obra de arte. Me parece la composición más hermosa en tiempos modernos que jamás he oído. Eres un genio y tú música dará que hablar. El primer movimiento me recuerda a Haydn, Mozart y Beethoven. El segundo a Brahms. Pero en general es un estilo al que yo aspiro también a la hora de componer. Enhorabuena y felicitaciones.
Hello, you have really good musical ideas, some are very delightfully Haydnian. I was glad to listen to your symphony. As one other poster said it, the orchestration is too much the same, heavy and predictable. I think it also hampers the flow of your symphony (the repeat signs make it worse). With an orchestration more refined, you'd also solve part of the problem. Your thematic material is great, I wish you'll explore it more freely in the future, I very subjectively found the development sections repetitive. My favourite movement is the third, I very like this happy scherzo-dance, the lively impetus was a treat. Continue, I'm sure your next symphony will be even better! Kudos for your work.
Thanks for your feedback, I think it’s very helpful! I definitely agree with your points- I hope to get better with it all in the near future. I’d also like to begin taking composition lessons to help, but first I need to build up a collection of works. Thanks for your kind words!
I really like this symphony. I tried writing a symphony a few times before, but I wasn't happy with how it went, so I stopped working on it. I would suggest you to try new things, for example more interesting harmonic choices or other instruments (Piccolo, Bass Clarinet, Trombone, Percussion,...). Trying new things is what always helps me get better. Also it could help you to not just try to write a symphony, but to tell a story with your music (if you don't already do that). I started doing that not long ago and it helps me get inspiration and gives my music a meaning. Overall I really like your music and you're on a good way to create more great pieces.
Thank you, glad you like it! I might eventually add some triangle/cymbal parts, but for now I think I’d like to improve in the classical style before I attempt anything more modern. Thanks for commenting!
This is an amazing work, and you deserve a whole lot of praise!! I do somewhat agree with other commenters: Really nice piece, with good thematic material, sound (though a bit heavy) orchestration, and very good grasp of classical forms. I did thoroughly enjoy this symphony and I hope to hear more from you. And I don't see an issue as with some of the complaints, because some composers used them in their favor: repetitiveness (Beethoven, Glass), dense orchestration (Ravel, Wagner, or many modern composers), or even being too referential (“Good composers borrow, great ones steal” - Stravinsky). What might have held you back is that it seems a bit aimless. I'd suggest modulating more, so as to find a narrative alongside the main structure, and exploring variations on the thematic material so that it doesn't sound "blocky", as you said in other comments. Still, I wish I could have gotten through with my own projects as you did with this one. As I said before, I hope to hear more of your compositions soon!
A very good effort that you put forward here! It's not easy to write a symphony, so I commend you for doing so (a second time!) A few suggestions/constructive criticism: The orchestration could use improvement (as others have said, less is more sometimes). The opening of the Passacaglia with the violins and basses in octaves is a very interesting choice. I can't say it's something I would do since it is something virtually unseen from the classical-era, and not as sonically pleasing to the ear as an independent bass line in a lush harmonic phrase (I think adding the flutes also amplifies this unusual voicing). That being said, the pedal point is well-placed, so well done there. In general, it would be really worth your while to seriously study the masters of the classical era to get a real handle on how they used the different instruments of the orchestra and working on using their different colors appropriately. I would also say that since you are imitating the classical style, you should follow those forms more closely, some parts felt too under-developed. Some technical things; there are also some incorrect enharmonics (e.g. at 6:07, the b-natural in the bass should be a c-flat, and the f# a g-flat, and 6:47 viola should be a c-flat as well) Overall, the voice-leading was pretty good, just watch out for awkward musical phrases which popped up from time to time. I have to ask since you play trumpet and are generally imitating the galant-style of the 18th century; do you intend for this to have natural trumpets and horns? As you probably know, they can only use the notes of the harmonics series, hence why brass parts from the classical era tend to be simple. Not something you have to do, but an interesting option, in my opinion. Overall, I would say that it just sounds a bit monolithic, so really strive to use contrasting colors and dynamics (not overdoing it, of course) in order to make the music itself more interesting and engaging. That being said, there was a lot of good in this piece, so hopefully this is encouraging and you keep writing, that's the only way to get better. Keep up the good work, good sir, and good luck!
Nice to see another Caleb composer out there. I am very impressed with your ability to replicate the classical style and your dedication to push through and write a full symphony. Great work. I can tell you’ve been studying.
No doubt in my mind that you are definitely going somewhere however you should consider more variations in textures and rythm because aside from the tutti which you made a standard in this piece you are definitely sticking to the traditional haydn-ish approach of using the orchestra as a giant unit
Great. Reminds me a bit of early classical era style such as Mozart and early Beethoven. Couple of pointers. The first movement , the repeat in the opening intro is a bit bloated and messes the structure of the work a bit. The bridge before the second theme overall lacked direction and needed a bit of motivic development to keep it moving forward. Great melodic themes overall. Really like this piece.
Nicee.... Keep up the good work...:) +1 Sub BTW, did you rlly write it in 6 days ? damn... and here I am struggling to write a minute of a concerto in 2 weeks :(
Well done, my friend. You've inspired me to finish the symphony I'm currently working on. Question though. My score, which is handwritten, calls for two of each: tenor recorder, B flat clarinet, Alto Sax, Bassoon, F French Horn, Trombone and Timpani. Three.of each for violin, viola and cello. Will this give a rich, full sound or come across at too thin and lacking bass. Much thanks and keep up the good work.
Hello! I’m not an expert by any means, but going all the way back to the baroque era, there would always be a bass doubling the cello part- and those orchestras were tiny! You might just have a bass double the lowest cello part if it’s consistently the bass. Good luck on your project!
Would you believe me if I told you that I have never listened to a complete Beethoven symphony? Haydn just wrote sooo much, I’m not even through listening to his baryton trios yet😅
I can say I enjoy it in some way. It seems like you're a bit stuck on one musical idea though. I don't have a problem with using an idea and develop it - Haydn did that and he was an expert of surprise, and that's what made him a genius, because one musical idea that is used over and over again usually bores the audience. If you really get stuck on one musical idea and can't think of what you should write next, I suggest looking at Mozart's music and see how he used different materials throughout his works to keep things fresh and new, or if you want to be like Haydn where you need only one musical idea throughout a movement, I'm telling you that it's not easy to do, at least not for me, because if you don't do it right, it will wear the audience out very quickly - maybe think of why you want to have the materials to be heard again, and the purpose shouldn't be because you are stuck - If I do get stuck and think my materials will bore the audience, I usually stop writing and think, until I can make sure my materials are enjoyable, at least it should be enjoyable for me first. Sometimes when I know I don't have much to excite the audience, I tend to write shorter works to reduce the pressure of getting stuck in the piece.
I feel that the melody is being covered up in most parts, and that the dynamic contrast is quite abrupt when it can be a lot more swell. The Passacaglia is pretty good, but I also think the dance is too loud and should include more dynamic contrast. It will wear out the embouchure of the players. The finale has very neat dynamic contrast and its really bouncy (I like it). Overall, good job, but work on your contrasts and how it should feel like. Also work on other keys (I see you use Eb a lot, try something else)
Hello, I’m self-taught, mainly just going by ear and lots of classical listening! I’ve done a bit of score study on a couple Haydn symphonies, which I have used to help with doubling/organization.
Ok very interesting. I am also self-taught and have done a lot of listening for a lot of years now. Do you have any recommendations for self-study or is it a matter of just doing it? I’ve studied basic harmony and have a good grip on music theory but I feel like I need something more. Sorry to pick your brain!
@@BrennanKalis-br7su Researching what you love is always a treat! I find it easiest to research the music of a composer I really like, and sites like IMSLP make score study super accessible!
![BRASIL vs. URUGUAY [1-1] | RESUMEN | ELIMINATORIAS SUDAMERICANAS | FECHA 12](http://i.ytimg.com/vi/-hWBAuxF1eY/mqdefault.jpg)
no trombones is devious
What are those??
@@calebshepard8005 Slide trumpets :D
cuz they ain't fit
i have arrangement without trumpets hehe
this is in a more classical style trombones dont exist much there same with tubas
What a refreshing piece with a pronounced "classical" discipline to it. Nice to
see that composers will still steer into the past for inspiration. Awesome job!
There’s a lot of good stuff in here! My biggest piece of feedback is try to vary the texture. There’s too much tutti-it will wear out the audience’s ears and the woodwind/brass players will struggle. It’ll also make the times when it is tutti more impactful, rather than tutti being the standard.
Thanks for your comment! I totally agree, it’s been quite a challenge to think outside of “blocks” of sound.
@@calebshepard8005 That is the curse of notation software with playback. I often run into the same issue. Something I’ve found to be helpful in making more interesting orchestration is printing out a piano reduction (though you could do it with strings) and assigning things to different instruments with colored pens.
@@calebshepard8005Maybe you can also try to write it by hand at the piano, and then transcribe it to the notation software - it will help you to not overly complicate it
@@calebshepard8005 What's helped me a tooon is to practice species counterpoint. Specifically, I'd recommend Jeppesen's book, since the focus is on getting out of the Baroque way of thinking in terms of chords, and returning to the Renaissance emphasis on thinking in melodic lines.
Fair criticism. I see a little too much parallel motion for my taste. Mix up the independent parts and try to give each section the most interesting independent lines possible.
I'm looking forward to your works, keep it up.
The melodies were very enjoyable, and I liked the direction you took with all of them. Really found the integration of the upward graces notes from the first movement in the finale extremely effective. The second movement was very idyllic, sounded like a walk through nature.
I think you could improve your instrumentation. The sounds the computer gives you for each instrument don’t really help in influencing your decisions, so try your best to use your eyes instead of your ears for that in particular (I know, against everything you’ve ever learned). That said, don’t be afraid to cut back on the instrumentation when the music gets softer. You did better at that in the finale. I would also recommend cutting some of the repeats. There comes a point the audience has heard a single idea so much that it needs to be transformed into something else, even if just as a little variation (this is where instrumentation becomes crucial). Using a diminished chord as the basis of a few sections could work to make things more interesting and dramatic. Your melodic gift is strong enough that this could be done handily.
How come you ended the finale so unceremoniously? It felt like the whole symphony was leading up to some sort of triumphant fanfare.
Thanks for your comment, I appreciate it! Yes, instrumentation is a skill I’m very much still learning haha. Thanks for your kind words! I ended it the way I did precisely because I thought it was too loud for too long, plus as just a little joke!
@@calebshepard8005 Haha, okay there’s the Haydn in you. Well-played, well-played
Such a nice Orchestral piece, congratulations, that is a big achievement, and Bravo, Keep doing what you doing
Thank you!
Stunning! I love it!
Thanks, glad you like it!
Hey Caleb! This is a pretty good sample library, esp. with those French horn legatos! I like your two subjects you introduce. I would experiment with different tomal centers, textures. I’m a composer as well and I’d love to hear more about your music journey!
Thanks! The sound is just the Musescore library, it’s pretty great!
@@calebshepard8005 I use a library from Native Instruments when I record in Logic. Actually I’ve been looking for composers to write collaboratively with. I’m wondering if you’d be interested.
Excellent work. The counterpoint is really fantastic. Can you congratulations!
This is brilliant.
Thanks! Happy you like it!
Well done! This is brilliant!
Thank you, that's very kind!
Hallo Caleb!
I am attending a high school with a music department in Japan. My compositions are influenced by Beethoven, but Haydn was Beethoven's teacher, so I thought this Symphony No. 2 was really wonderful. Let's study together!
Hello! Best of luck on your musical journey, I wish you all the best! Thank you for your kind words!
This is absolutely amazing! Well done!
Thank you so much!
Reminds me of a young Haydn, though there are bits of Mozart’s 41st in here
Brilliant stuff! Congrats on this great piece of music!
Thanks! Glad you like it!
Youre doing great.
Its a nice peace of music, i like it.
Bravo! There were some really nice moments in there that I really enjoyed listening to. Good job on finding such good sound fonts as well; I could almost believe that I was listening to a real orchestra. It's also incredible that you were able to complete it so quickly (6 days, 30 mins, is insane). However, I find, as well as many others before me, that you have stepped into the trap that a lot of people fall in, including myself: over-orchestration. The rests on a page can be intimidating, but some of the nicest moments in here were with only two or three players vs. tutti. Further, I think that you would benefit from trying out more instrument combos. They work well in maintaining interest! I loved this :)
Thank you so much, that’s very kind of you to say! I will definitely be improving my orchestration moving forward haha. The sound fonts are just the Musescore 4 sounds!
Is there a reason that the lines are flipped in some areas? If it's because you're putting the more difficult lines in the first instrument, prioritize range over difficulty. The 2nd flute should not be treated as the less skilled flute, but the flute that plays the lower lines.
Unslurred notes in the winds (woodwinds and brass) will generally be interpreted as being seperated unless otherwise notated--especially the quick notes. Add some more slurs unless that's the sound you want. You'll be surprised at how long winds can slur. There are also some places that should probably be slurred in the strings (e.g. 6:01 in the first violins).
Also, slur the grace notes (I know that musescore is weird about that; you have to Ctrl select the grace note and the regular note to get it to slur).
You need to specify whether or not the flutes, bassoons, and trumpets are playing a2 (both instruments at once) in the single lines. And when they aren't, specify which instrument is playing (using "1." and "2.").
Many people are talking about the lack of trombones. I don't see anything wrong with it. You're using the instruments that you need, and nothing more. That's good.
No hablo inglés pero quiero decirte que esta es una maravillosa obra de arte. Me parece la composición más hermosa en tiempos modernos que jamás he oído. Eres un genio y tú música dará que hablar. El primer movimiento me recuerda a Haydn, Mozart y Beethoven. El segundo a Brahms. Pero en general es un estilo al que yo aspiro también a la hora de componer. Enhorabuena y felicitaciones.
Thank you so much sir, you are far too kind. I’m so happy you enjoyed it.
@@calebshepard8005 he really is! its 2024 not 1764
this is really impressive!
Thank you! I’m glad you like it!
Bravo, very enjoyable thematic metarial and you treat form in the short term the way I like it in Beethoven! Keep writing and improving!
Thank you, I’m glad you liked it!
Hello, you have really good musical ideas, some are very delightfully Haydnian. I was glad to listen to your symphony. As one other poster said it, the orchestration is too much the same, heavy and predictable. I think it also hampers the flow of your symphony (the repeat signs make it worse). With an orchestration more refined, you'd also solve part of the problem. Your thematic material is great, I wish you'll explore it more freely in the future, I very subjectively found the development sections repetitive.
My favourite movement is the third, I very like this happy scherzo-dance, the lively impetus was a treat. Continue, I'm sure your next symphony will be even better! Kudos for your work.
Thanks for your feedback, I think it’s very helpful! I definitely agree with your points- I hope to get better with it all in the near future. I’d also like to begin taking composition lessons to help, but first I need to build up a collection of works. Thanks for your kind words!
This Piece was so insane you inspired me ❤😮
Thank you, I’m happy to hear you liked it!
I actually really like this!
Well done! Great composition!
Thank you so much!
Faut pas trop exagerer quand même. Un peu d'humilité please.
@@michelprezman51 what do you mean by that?
I really like this symphony. I tried writing a symphony a few times before, but I wasn't happy with how it went, so I stopped working on it. I would suggest you to try new things, for example more interesting harmonic choices or other instruments (Piccolo, Bass Clarinet, Trombone, Percussion,...). Trying new things is what always helps me get better.
Also it could help you to not just try to write a symphony, but to tell a story with your music (if you don't already do that). I started doing that not long ago and it helps me get inspiration and gives my music a meaning.
Overall I really like your music and you're on a good way to create more great pieces.
Thank you, glad you like it! I might eventually add some triangle/cymbal parts, but for now I think I’d like to improve in the classical style before I attempt anything more modern. Thanks for commenting!
This is an amazing work, and you deserve a whole lot of praise!!
I do somewhat agree with other commenters: Really nice piece, with good thematic material, sound (though a bit heavy) orchestration, and very good grasp of classical forms. I did thoroughly enjoy this symphony and I hope to hear more from you. And I don't see an issue as with some of the complaints, because some composers used them in their favor: repetitiveness (Beethoven, Glass), dense orchestration (Ravel, Wagner, or many modern composers), or even being too referential (“Good composers borrow, great ones steal” - Stravinsky). What might have held you back is that it seems a bit aimless. I'd suggest modulating more, so as to find a narrative alongside the main structure, and exploring variations on the thematic material so that it doesn't sound "blocky", as you said in other comments. Still, I wish I could have gotten through with my own projects as you did with this one. As I said before, I hope to hear more of your compositions soon!
Thank you so much! I’m glad you liked it- I’ll definitely keep that in mind moving forward!
A very good effort that you put forward here! It's not easy to write a symphony, so I commend you for doing so (a second time!) A few suggestions/constructive criticism: The orchestration could use improvement (as others have said, less is more sometimes). The opening of the Passacaglia with the violins and basses in octaves is a very interesting choice. I can't say it's something I would do since it is something virtually unseen from the classical-era, and not as sonically pleasing to the ear as an independent bass line in a lush harmonic phrase (I think adding the flutes also amplifies this unusual voicing). That being said, the pedal point is well-placed, so well done there. In general, it would be really worth your while to seriously study the masters of the classical era to get a real handle on how they used the different instruments of the orchestra and working on using their different colors appropriately. I would also say that since you are imitating the classical style, you should follow those forms more closely, some parts felt too under-developed. Some technical things; there are also some incorrect enharmonics (e.g. at 6:07, the b-natural in the bass should be a c-flat, and the f# a g-flat, and 6:47 viola should be a c-flat as well) Overall, the voice-leading was pretty good, just watch out for awkward musical phrases which popped up from time to time.
I have to ask since you play trumpet and are generally imitating the galant-style of the 18th century; do you intend for this to have natural trumpets and horns? As you probably know, they can only use the notes of the harmonics series, hence why brass parts from the classical era tend to be simple. Not something you have to do, but an interesting option, in my opinion.
Overall, I would say that it just sounds a bit monolithic, so really strive to use contrasting colors and dynamics (not overdoing it, of course) in order to make the music itself more interesting and engaging. That being said, there was a lot of good in this piece, so hopefully this is encouraging and you keep writing, that's the only way to get better. Keep up the good work, good sir, and good luck!
A very classical style symphony
Sounds great. It'll sound better with Muse Sounds.
Nice to see another Caleb composer out there. I am very impressed with your ability to replicate the classical style and your dedication to push through and write a full symphony. Great work. I can tell you’ve been studying.
Hello Caleb! There doesn’t seem to be that many of us out there, we have to step up our game lol! Thanks for your comment, glad you like it!
Nice work
sounds great but where are the trombones??
Haha trombones scare me… Maybe next time!
No doubt in my mind that you are definitely going somewhere however you should consider more variations in textures and rythm because aside from the tutti which you made a standard in this piece you are definitely sticking to the traditional haydn-ish approach of using the orchestra as a giant unit
Great. Reminds me a bit of early classical era style such as Mozart and early Beethoven. Couple of pointers. The first movement , the repeat in the opening intro is a bit bloated and messes the structure of the work a bit. The bridge before the second theme overall lacked direction and needed a bit of motivic development to keep it moving forward. Great melodic themes overall. Really like this piece.
Thanks! I definitely agree, thank you for the feedback!
I think it would be better if timpani have B and Es (like violins), not just Es, at 3:44.
Suddenly you dropped out a masterpiece.
Haha thank you, you’re too kind
Nicee.... Keep up the good work...:)
+1 Sub
BTW, did you rlly write it in 6 days ? damn... and here I am struggling to write a minute of a concerto in 2 weeks :(
Thanks for your comment! Don’t give up, you can do it!
@@calebshepard8005 :)
Question...
1. How long have you been composing...?
2. Do you not like trombones ?
Trombones and clarinets for next one pls (also try adding in some castanets or tamburins in the Dance part)
Good stuff
Thanks!
Well done, my friend. You've inspired me to finish the symphony I'm currently working on. Question though. My score, which is handwritten, calls for two of each: tenor recorder, B flat clarinet, Alto Sax, Bassoon, F French Horn, Trombone and Timpani. Three.of each for violin, viola and cello. Will this give a rich, full sound or come across at too thin and lacking bass. Much thanks and keep up the good work.
Hello! I’m not an expert by any means, but going all the way back to the baroque era, there would always be a bass doubling the cello part- and those orchestras were tiny! You might just have a bass double the lowest cello part if it’s consistently the bass. Good luck on your project!
the opening movement reminds me of Beethoven
Would you believe me if I told you that I have never listened to a complete Beethoven symphony? Haydn just wrote sooo much, I’m not even through listening to his baryton trios yet😅
I can say I enjoy it in some way. It seems like you're a bit stuck on one musical idea though. I don't have a problem with using an idea and develop it - Haydn did that and he was an expert of surprise, and that's what made him a genius, because one musical idea that is used over and over again usually bores the audience. If you really get stuck on one musical idea and can't think of what you should write next, I suggest looking at Mozart's music and see how he used different materials throughout his works to keep things fresh and new, or if you want to be like Haydn where you need only one musical idea throughout a movement, I'm telling you that it's not easy to do, at least not for me, because if you don't do it right, it will wear the audience out very quickly - maybe think of why you want to have the materials to be heard again, and the purpose shouldn't be because you are stuck - If I do get stuck and think my materials will bore the audience, I usually stop writing and think, until I can make sure my materials are enjoyable, at least it should be enjoyable for me first. Sometimes when I know I don't have much to excite the audience, I tend to write shorter works to reduce the pressure of getting stuck in the piece.
I feel that the melody is being covered up in most parts, and that the dynamic contrast is quite abrupt when it can be a lot more swell. The Passacaglia is pretty good, but I also think the dance is too loud and should include more dynamic contrast. It will wear out the embouchure of the players. The finale has very neat dynamic contrast and its really bouncy (I like it). Overall, good job, but work on your contrasts and how it should feel like. Also work on other keys (I see you use Eb a lot, try something else)
my toxic trait is thinking i could do this
You can!
Hey just curious where you learned to compose. I have composed some pieces in a more classical style and was surprised to find others haha.
Hello, I’m self-taught, mainly just going by ear and lots of classical listening! I’ve done a bit of score study on a couple Haydn symphonies, which I have used to help with doubling/organization.
Ok very interesting. I am also self-taught and have done a lot of listening for a lot of years now. Do you have any recommendations for self-study or is it a matter of just doing it? I’ve studied basic harmony and have a good grip on music theory but I feel like I need something more. Sorry to pick your brain!
@@BrennanKalis-br7su Researching what you love is always a treat! I find it easiest to research the music of a composer I really like, and sites like IMSLP make score study super accessible!
Ok thanks. Very kind of you to reply. Yes I’ve discovered IMSLP. MuseScore has also been helpful with user submitted scores. I’ll try that out.
@@BrennanKalis-br7su Where can we listen to your compositions?
Literally just a better version of the Eroica lol (kind of like Dvorak 3)
Haha I wish, you’re too kind! Glad you liked it!
How long have you been composing for?
My first “pen to paper” piece was a little over 2 years ago, but I was unable to write since then until about this time last year.
Accidenti...ancora musica tonale? 🙄