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I didn’t really write this on a computer. I guess I’m not sure what you mean. TBH, I wrote pretty much all of this by playing it on my piano and recording it on the voice memos app on my phone. I’m not the sort who can just sit down with a blank sheet and compose a piece of music. So, I would literally sit at the piano writing stuff down. I’ve tried writing on manuscript paper in this way, but I produce nearly identical works that I would then have to transcribe after the fact to software bc I’m not going to get anyone to perform it. So, I find it much easier for me to skip that step and write it in musescore. Anyhow, the intricacies of this piece aren’t exactly stellar. I’m just a 20 year old without any composition education. So, I have very little interest in writing experimental music that fits with the contemporary aesthetic. This particular composition I was exploring subtle dissonances in suspensions like the stacked E, F, F#, and G in the first movement and modulations which are something I usually avoid. Also, I explored some more nontraditional harmonies I guess in the fourth movement. It’s the most interesting movement. But most people don’t make it that far, so I’m guessing a lot of people get bogged down with the blatant diatonicism of my earlier movements. So, if this is what you mean by derivative, I suppose it is. But all music is derivative. The merit of contemporary classical music is not in how similar or dissimilar it is to other works. Right now, a contemporary classical piece is great if people will listen to it. Incidentally, I have not found the solution. 😂

Also, thanks so much for listening!!

Yes, the dissonance with the stacked notes was intentional. I was surprised that nobody really noticed it. I’ll look what I can do with the clarinet and sax registers. I have an unreasonable number of instruments already, so I’ve been trying to swap instruments around. Generally, if the flutes are free, I tend to like to give them the shrill stuff. 😂 Also, I wonder if the bass clarinet could pick up some of the slack from the alto sax. Don’t really remember what my orchestration was doing in those places. Also, I probably should add a hairpin or something. I tend to just think pianistically and assume that everyone is just going to do their thing anyways. But in an orchestral setting that really doesn’t make sense. Thanks for listening!

No problem! I didnt have the time to listen to and look at the rest yet, but I will do and share my thoughts. As a Sax/Clarinet player, its interesting to see people with piano background orchestrate music by the way, its a whole different style!

@@etc.-1912 Movement 2: I overall like the dynamic changes really much Beginning: This is not wrong in the notes, but the ff playback is very brass heavy. Maybe adjust in the mixer of insert invisible f in the horns and co right after the ff. Also, staccato playback by musesounds is obviously awful, but not the composers fault. To make good sounding audios, i remove the staccati or split off every second note and give it to a second voice and undo the changes after i have my mp3. 184: The soprano sax will be very hard to play for the reason i mentioned before 212+239: Really nice register voicings! 273: This sounds pretty cluttered, if thats intentional thats perfect. But I would create much larger interval gaps in the low notes (under around f0), at least fourths in size. Movement 3: More nice voicings! Especially in horns! Overall, I would say that many instruments have too much spare time. Of course, this is a thin movement in a lot of sections, but e.g. in 354, I would let both flutes play. In 352, I suggest giving both oboes the triplets (especially since these are the first fast notes in the piece, sounding like a mistake if played insecurely). Movement 4: 486 sounds really nice, and in this case I think it is definitely the right choice to give the quick notes to one clarinet only. Overall, I really like the work with the Glockenspiel, where it supports the lines and where not. Until before the end, I thought the high amount of themes and atonality would be too much, but the reprise at the end ties all this back together. I still think that a bit less thematic jumps in the last movement would help the coherence, however. Overall, I have to say Im nitpicking a lot of stuff, especially since I never wrote such a long piece myself, and if I didnt mention something, I probably liked it very much (i have an affinity for criticism for some reason). I hope I could help you without sounding like a jerk and im looking forward to your opinion

This was composed by me. I just like quoting Thomas Little. 😂

@@etc.-1912 Who the heck is Thomas Little? BTW this climax sounds very close to Barber's Adagio.

@@johnpcomposer He's the guy from the Classical Nerd TH-cam channel. I've been watching his videos for years, so I just picked this quote up from the out of context video he made. I'm hoping one day that he'll notice me. #justiceforSalieri

It makes send if it's going to be a fast movement. It takes me forever to write fast pieces in general. They're just not my cup of tea. I like the slow sad stuff a whole lot more, so if you let me I think I'd make all of the movements kind of slow and plodding. 😂😂

Yeah. Just not when I’m done with it. 😂 Sonata 5 has more complex and abstract harmonies sometimes. I feel like 4 harkens more to almost impressionistic harmonies.

That side eye dog meme is basically my whole personality lol. I like that meme 😂

Forgot to answer ur other questions. I didn't plan this. I just recorded a ton of audio and trimmed it and rearranged it. lol The format of things just kind of found itself, unlike the images. lol I should probably outline things before I make a video tho.

lol IDK. I guess I'm the sort that just doesn't like their own work. Thanks for listening.

You're good, it was mentioned alongside the video.

About that. Your voice doesn't sound bad per say, but I can very clearly hear that you are speaking from your throat, try instead speaking from above your head. It's called "vocal projection" and it opens up your vocal lips and makes your voice sounds clearer and more pronounced. It's one of those important habits you just gotta learn. Learning that helped me a lot to speak better.

@@nemer_k You sound like my old choir teacher (who I incidentally didn't listen to lol). One of these days my voice will deepen or something. Hopefully. It's probably not going to happen. 😂😂 lol When I'm not stressed, I talk really low and quietly. So, maybe that voice will prevail!

Thanks for listening!

Thanks! I was really trying hard this time to think about a larger scale of things and not just the individual sections and ideas, so it's nice to see that you think things flow together. Thanks for listening!

@@etc.-1912 yes....there are lots of great symphonies...but if listened on a larger scale , as a whole Tchaikovsky 5th comes first in my mind...each instruments and section blends seamlessly, as if he wrote it in one hour...

@@clearbrain I know! It's such a contrast to the sixth which has this break between the third and fourth movements that I assume was deliberate. Obviously the form is very untraditional, so that's likely partly why. But I feel like it contrasts the natural flow of the fifth which feels like a long walk through the woods. I am a sucker for the third and fourth movements of the 6th and the horn solo from the 5th. Those two symphonies are absolute masterpieces. Very addicting. 😂😂😂

@@etc.-1912 very good observation

I am. 😁 My names Enan Chediak. I’m just a photographer. (Edit: I thought this was my symphony lol. I wrote this in an afternoon. Not a lot of work went into this. I'm such a liar.)

Thank you!

That’d be awesome if it actually got performed one day. Thanks for listening!

I did just about three weeks ago I finished my first draft. It’s on TH-cam too. It’s worlds better than this one. It’s like what this one could have been if I had slowed down and written all of the movements like I wrote the first movement.

Also thanks for listening!!

Thank you!

Unfortunately... I wasn't going to, since I don't think my boomer parents would appreciate it very much. But I don't think it'll ever get to the place where I would need to tell them since I don't really use it for much. Also... you have a TH-cam channel????

Thank you!

Me not knowing which piece you're referring to: 🤨🤨 jk I feel like my style currently sounds a bit more Russian than Chopin's style. I'm not Russian, though. lol But I do take a lot of inspiration from Chopin. Thanks for listening!!

Yes, Shostakovich does taste good. lol NGL, I'm not a big Shostakovich fan. I think I listened to his Symhponies and a few other works and then I was like he not my cup of tea. It's kind of funny since I love Nielsen 5 to death. It's one of my favorite symphonies, and in many ways, I can see some similarities between it and Shosty's pieces. I'm such a hypocrite sometimes. 😂😂 Maybe I should give them a listen again. Thanks for listening!

Thank you!

Thanks for listening and for commenting!

@@etc.-1912 Listened to your video with your comments on the finale....I see now that you had Scriabin more in mind than the French...but I think it traces back to Debussy.

Thank you!

Thank you for your reply!

Thank you!

For some reason, I can't figure out how to get trombones and trumpets to really work in musescore when they're playing pianissimo. I'm sure there's a way to get them to sound better than what I've gotten. But I'm not that great with musescore's mixer pannel, tbh. 😂😂 Thank you for listening!

I don't know. Rachmaninoff wrote quite a few preludes of similar length. I only called them preludes because of the late Russian thing where they called basically any random piano work in a loose ABA format a prelude if you were too lazy to name it. Unless I have a more specific form in mind, I tend to call them preludes out of ease. I'd be interested how preludes have been used historically, since from experience they don't tend to have much of a pattern to them like a fugue or a rondo would. Thank you for listening!

Thank you!