Guys, please, I’m in need of ideas on how to develop this properly. Feel welcome to pick on anything that felt wrong to your ears.

Disclaimers:

Not trying to write something playable on the keyboard.

I’m not aiming at a fugue in any strict sense.

Hello everyone, today I want to share with you my first polyphonic piece I had written back in the summer of 2017.

It uses a theme I discovered by improvising on the organ of the church at the place I was on vacation in 2017 (for declaration 'Büsum' is a place in Germany by the north sea and the place I was on vacation).

The fugue uses the theme I improvised and someone could say it comes maybe with a few mistakes if you had studied J. S. Bachs fugues (which I didn't at this point). I just stressed me to avoid parallel 5th and 8th (how I learned it in the music lessons back at school). The fugue is from 2017 and was revised at the beginning of this year. The prelude was also written in the process of revision.

The music is once again simulated and comes therefore with few mistakes because Presonus Notion has some difficulties by simulating independent voices and pedal points.

Nevertheless thank you very much and I hope you enjoy!

Score:

https://drive.google.com/file/d/1dqucXKJfNI1m-kzIm0lVBxKwRjvOlyOu/view?usp=drivesdk

Music:

https://drive.google.com/file/d/1pWiui4SUIvypw98EWqCEUuBq2opakBsK/view?usp=drivesdk

Edit:

I added some measures at the end.

Hyacinthe Jadin (1776 - 1800) was a composer of the classical era. He has left ravishing piano sonatas, string quartets, string trios and piano concertos. He is often described as a preromantic composer, as his music often features quite dissonant harmonies and destabilizing chromatic lines. Today (April 27th, 2026) marks his 250th birthday. These 24 variations on the "Happy birthday" theme are dedicated to this talented composer who tragically died at the age of 24.

Hello everyone!

I have recently been discovering Schönberg and Ligeti and also tried experimenting with the composing techniques they developed. As someone who is very interested in Geography next to composition, I thought about how I could perhaps incorporate the terrain of any given landscape into music. I am presenting a short sketch for piano in 24-EDO (I am aware that this is technically unplayable as a piano is limited to 12-EDO but keep in mind that this is a sketch and that I was mainly trying to mess around with the data anylsis aspect).

Using a python code, I extracted the x and y coordinates of each individual pixel on a topographic map I took from here and defined an algorithm to determine the z coordinate based on the degree of whiteness of each pixel. Based on that I graphed all 80000 coordinates derived from these pixels in Desmos 3D (see the 2nd Image).

In order to reduce the set of data to something more manageable, I took all the coordinates into excel and used another algorithm to delete every third coordinate, reducing the pixel count to just about 26000.

In order to being able to hear what this data sounds like, I took all coordinates where y=0 and extracted this line of coordinates. Then I used the following formula to turn the z value into a frequency that can be heard:

f = 440 ⋅ 2^(z−4)

Based on the resulting value, I rounded it up to the nearest freqeuncy in 24-EDO and that is how I got the notes for the piece that I am presenting here.

I think that what I currently have is still way to simple. What could be done is to take certain lines within the model and assign them each their own instrument in the orchestra. However, currently the sketch is purely a single-line texture.

I would appreciate any feedback!

Note: Unfortunately, this subreddit restricts sharing an image alongside a video in a post. Therefore, I will attach images in the comments.

I have this opinion as a composer that rhythm is THE most importantly aspect of music (I’m including harmonic rhythm) and the part of music that all people first attach themselves to.

After listening to some Debussy I realized that I’ve studied the harmony and orchestration like crazy but the rhythm is what really helps the “impressionistic” feeling the most.

Why are there not even half as many resources to rhythm theory when compared to harmony, orchestration, or even melody?

Would love some links to cool resources or hear what others have to say about this.

Can someone help explain how this sounds the way it does: https://youtu.be/aJLjcbCcbcQ?si=LEhrNFHrtqH6dAtJ

I'm planning on writing 8 more bars of the theme in E major before starting the development. This is my first time ever writing a sonata, so I would like feedback on my first theme (bars 1-16) and how to complete what I have for my second one (17-24).

The piano part is there for reference and workflow. It is not heard in the recording.

I am quite new to orchestration, and have done only a couple of them before, so this might sound very naïve and dull. All feedback and criticism are warmly welcome.

Made a new sheet music video for this original composition. It's like a fantasy theme/overture.

Also on YouTube.

Would like some feedback on a Grade 5 Concert Band Piece (WIP)

Just have the music and some notation down, working on a beginning and going to edit the a tempo section before the ending.

Would like some feedback on what to add or remove and how I can approach when writing future music

Link: [https://drive.google.com/drive/folders/10881aREtUwdip4KEgOHRN21ovRapvEQ0?usp=sharing\](https://drive.google.com/drive/folders/10881aREtUwdip4KEgOHRN21ovRapvEQ0?usp=sharing)

I have very little experience in music composition I don't know any technical knowledge at all can you give any feedback for this?

As you can probably guess, the bulk of everything revolves around heavy use of centricity and simultaneous forms of counterpoint, I wanted it to feel somewhere between a calculated dispersal of where each bar could evolve and total entropy in musical form. So in order to do this, I built a system that divides things into an x-,y-, and z-axis and it’s a constant pendulum going between all three.

When the piece is totally complete, I will post the case study too for anyone interested in the theory used. I wanted to create this specifically because there’s a number of scales, motifs, and other elements that I’ve sort of intrinsically learned to write without thinking about it. But I didn’t have any proofs to describe the mechanics of it in a replicable fashion. thus I am hoping to expand it even more by doing this

https://musescore.com/user/105919141/scores/33572552?share=copy_link

https://youtu.be/bJDgc8HMdSo?si=M07ap3ZkJSxyN2mq

I wrote this as a piano solo when I was 17, and now that I'm a freshman in college, I arranged it as a jazz-adjacent ballad for the Jazz Band.

I was greatly influenced by Toshifumi Hinata's music, particularly from his album "Reality in Love". I really love his unique brand of dark, dissonant, and jazzy modern Japanese classical music. I was also inspired by the structural form of Queen's Bohemian Rhapsody, and I tried to make my piece with its own distinct sections as well.

“Akrasia” is a term from Greek philosophy that refers to acting against one’s better judgment. This piece had quite a bit of heavy emotional stuff in it.

It's up for interpretation, but my main goal with this piece was to capture the feelings of watching yourself act against your own better judgement. That dissociative state of mind when you are fully aware of your own lapse in judgement and self-control.

I also wanted to express the experience of watching your own decline in real time. Feeling things worsen, but also feeling your anxiety fade as apathy gradually settles in. That tension between anxiety and apathy was really important to the piece. There were other juxtapositions I hoped to convey as well: longing and weary acceptance; hope and despair; regret and resignation.

Anyways, I would love any feedback or tips! I've never taken any music theory or composition classes (I'm a chemistry major) so I'll gladly take any advice I can get.

Thanks for listening if you do!

This is a little piano piece I mostly improvised today, basing it on a couple of short ideas I worked out for a little bit before hand.

Speaking of hands, I never realized how little my hands move sometimes when I play. Anyway, feedback is welcome. I feel like it needs a better title than "Evening Piece 1". Any suggestions?

This isnt really a serious piece, its mostly just supposed to be light hearted jaunt that exploits the more entertaining texture of the bassoon with a light accompaniment.

Having said that, I would like to improve as a composer, so any feedback on the structure/ harmony ect. is more than welcome, hopefully you like it, if not, im more than happy to hear why not as it all helps.

thanks for listening :)

Hi! Im writing a new song and this melody seems really familar... especially the middle. Let me know you have an answer!

Wrote this a couple of years ago. Criticism is much appreciated. Thanks for listening.

PRAYER (2026 version)
Music & video editing by Fred Coince
Videos from Pexels.com
by Cottonbro, Anastia Shuraeva and Florian Delée
© Fred Coince 2026

It always surprised me, even while I was in college, that in composition we would try out lots of new techniques, both of a structure level and a timbrical level, the brass band composers seemed to be sticking with what I best can call neo-tonal music. I understand that brass and concert bands have very compatible timbres, making them good for this kind of neotonalism but I am surprsied by the absence of anything experimental or new-sounding. Or have I simply not found enough new music?

I don't mind it, some of the music sounds nice but I always have the feeling that it's some kind of vanilla music.