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Second atempt: here is my first piece on sentiments. (very short but my best at intent)

Starts with a solemn exposition; on 3 begins to evolve to dispointment; witch is completely healed on 10; on 13 the revisiting starts; the disapointment origin stil exists on 15; on 17 it's seen as just a new experince; that is finished on 20.

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Sweet! Although I think I've said this to you before, you need to study counterpoint! I'm happy to send you a book if you want to PM me your email address...

I'm not sure that humans go through 4 or 5 different emotions in less than a minute (though maybe subconsciously). Neither should your music. Help us feel what you are feeling.

Sory abot that. My friend told me to start small with the only goal of passing my intent trough a small piece, since is kinda hard for beguiners to mantain a foucused intent for long. I do have thougths of expandind this one, since I like it very much, but most of my ideas follow an aesthetic purpose and doesn't realy add anything to the "coping with disappointment" process. I, maybe, should give more emphasys on redundancy of ideas, since it sholud help to form a clearer idea and better comprehension of it. Well, thanks for the comment!

Bob Porter said:

I'm not sure that humans go through 4 or 5 different emotions in less than a minute (though maybe subconsciously). Neither should your music. Help us feel what you are feeling.

I think each emotion is multi-dimensional. Sorrow might be not just minor mode, but also less notes, and narrow melody. Healing might be major mode, more notes, and widening melody. 

Sure, start small. But that might not mean short. It could also mean pick one emotion and develop it. Or maybe one emotion moving to another.

Some extraordinarily powerful music is written with little to no counterpoint. It is not a requirement for good composing!

Claude Werner said:

Sweet! Although I think I've said this to you before, you need to study counterpoint! I'm happy to send you a book if you want to PM me your email address...

You do have a point, but it looks like I'm aiming to do counterpoint, so I should study it. Although the music fell fine to me and the stability of those never changing notes is something I like!

The study of counterpoint would widen my views, witch is never a bad thing!

I think Lucas covered my answer pretty well, if you are trying to do counterpoint, then you should study it thoroughly...

Charles Holt said:

Some extraordinarily powerful music is written with little to no counterpoint. It is not a requirement for good composing!

Claude Werner said:

Sweet! Although I think I've said this to you before, you need to study counterpoint! I'm happy to send you a book if you want to PM me your email address...

My point was simply that it is not a prerequisite to good music. Of course one should study if one wants to but a common stage with developing composers is to prioritise mastery of theoretical forms to the exclusion of their own voice. Absorb knowledge of course but out of necessity rather than principle.

Yes absolutely, there's nothing that you say that I don't agree with my friend!

Charles Holt said:

My point was simply that it is not a prerequisite to good music. Of course one should study if one wants to but a common stage with developing composers is to prioritise mastery of theoretical forms to the exclusion of their own voice. Absorb knowledge of course but out of necessity rather than principle.

A nice little piece of music that sounds like a cross between Baroque and silent film styles. Definitely shows that you have promise as a composer. I won't get into the counterpoint thing. As for the emotional content, I really didn't pick up much. Rather, it sounds like someone groping his way through a dark corridor. So much for the composer's intent. Makes me think of a great line I just heard: If you want to hear God laugh, just tell him your plans.

Thank you! It might not be a well formed idea yet. When I think of disapointment I often relate it to a depression of will, witch was my way of dealing with it, but the song shows it in a thickier texture than intented, that may be one of my mistakes. I do lack a lot of tools on composing, but, you know, we learn living and we should live learnig! I'm not familiar with that phrase, coulld you explain how it relates to what you feel while you listen? That would kinda help me.
Edit : grammar
michael diemer said:

A nice little piece of music that sounds like a cross between Baroque and silent film styles. Definitely shows that you have promise as a composer. I won't get into the counterpoint thing. As for the emotional content, I really didn't pick up much. Rather, it sounds like someone groping his way through a dark corridor. So much for the composer's intent. Makes me think of a great line I just heard: If you want to hear God laugh, just tell him your plans.

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