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
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.
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!
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!
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!
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.
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.
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)
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!
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!
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😅
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!
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
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
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.
Well done! This is brilliant!
Thank you, that's very kind!
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
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!
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 Piece was so insane you inspired me ❤😮
Thank you, I’m happy to hear you liked it!
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!
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.
Trombones and clarinets for next one pls (also try adding in some castanets or tamburins in the Dance part)
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!
Well done! Great composition!
Thank you so much!
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)
Good stuff
Thanks!
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!
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!
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😅
sounds great but where are the trombones??
Haha trombones scare me… Maybe next time!
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.
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!