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I let myself listening to this track for a few days before I comment, as it

took you a long time to put all these things together (componere= to put

things together).
First of all, I think that it's good that you kept the piano for the whole

composition. This is a serious work for Piano and (contemporary) Orchestra,

and other soloing instruments would probably have watered down the whole

tune. There are small sections without the piano and this is well enough for

the ear to rest and want more of it.
The whole musical story is masterfully told, with rests, raising or lowering

the tone (volume),  so the listener is engaged all the time. To further keep

the tension, there is the dramatical element, and you have not overdone it,

which is the beginning of a mastership.
The drumming is wow! I admire you for as anyone else on this list. It's not

only the attention to detail, which we all have for listening, but the

attention and insisting of DOING the detail. Many hours spent there, but

worth every second of it.
There's only one objection, but for that I need to tell a little story. My

best friend is John Hudson, piano player and jazzmen with all his heart. My

neighbor as well. We create and share our musical creations for 10 years

now. And with him I understand that I am an Eastener deep down. For me,

melody is first, harmony is second. With him is the other way round. He

always critises my lack of more interesting harmony, I do the same for his

understated melodies.
In this light I would like you to understand that personally, as someone

from Eastern Europe, I feel that the melody should be stronger where the

orchestra comes in. Till then, the piano plays the melody and it's a nice

one, has it's presence. When the orchestra comes in, the melody is not so

strong any more. Emphasis is on the chords and all these beautiful changes

of tempo and dynamics, but I believe they should be there to hold the

melody. Yes, there is a basic melody going on top of it, but I think that it

should be a stronger, more developed and thought off.
At this stage, it's an ideal piece for a soundtrack. If you work on the

melody in the second part, you can then write the score and publish it as a

self-contained Contemporary Classical Composition. With a bit of effort to

find the right publishers, I am sure that many modern classical orchestras

would love to perform it.
--

Viktor Mastoridis

Music-o-Graph

& Educator

www.MediTera.Co.Uk
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I let myself listening to this track for a few days before I comment, as it=

 took you a long time to put all these things together (componere=3D to put=

 things together).First of all, I think that it's good that you=

 kept the piano for the whole composition. This is a serious work for Piano=

 and (contemporary) Orchestra, and other soloing instruments would probably=

 have watered down the whole tune. There are small sections without the pia=

no and this is well enough for the ear to rest and want more of it. 
The whole musical story is masterfully told, with rests, raising or low=

ering the tone (volume),=A0 so the listener is engaged all the time. To fur=

ther keep the tension, there is the dramatical element, and you have not ov=

erdone it, which is the beginning of a mastership.
The drumming is wow! I admire you for as anyone else on this list. It&#=

39;s not only the attention to detail, which we all have for listening, but=

 the attention and insisting of DOING the detail. Many hours spent there, b=

ut worth every second of it. 
There's only one objection, but for that I need to tell a little st=

ory. My best friend is John Hudson, piano player and jazzmen with all his h=

eart. My neighbor as well. We create and share our musical creations for 10=

 years now. And with him I understand that I am an Eastener deep down. For =

me, melody is first, harmony is second. With him is the other way round. He=

 always critises my lack of more interesting harmony, I do the same for his=

 understated melodies.
In this light I would like you to understand that personally, as someon=

e from Eastern Europe, I feel that the melody should be stronger where the =

orchestra comes in. Till then, the piano plays the melody and it's a ni=

ce one, has it's presence. When the orchestra comes in, the melody is n=

ot so strong any more. Emphasis is on the chords and all these beautiful ch=

anges of tempo and dynamics, but I believe they should be there to hold the=

 melody. Yes, there is a basic melody going on top of it, but I think that =

it should be a stronger, more developed and thought off. 
At this stage, it's an ideal piece for a soundtrack. If you work on=

 the melody in the second part, you can then write the score and publish it=

 as a self-contained Contemporary Classical Composition. With a bit of effo=

rt to find the right publishers, I am sure that many modern classical orche=

stras would love to perform it.
-- Viktor MastoridisMusic-o-Graph & Educato=

rwww.MediTera.Co.Uk
--0023545bd4942f30ba0476ef4819--