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  1. Board

    1. Announcements and Technical Problems

      Check here for the latest news, report technical problems with the board, or submit your suggestions

  2. Upload Your Compositions for Analysis or Feedback

    1. Orchestral and Large Ensemble

      Upload compositions which use an orchestra or a large ensemble (defined as one requiring a conductor)

    2. Chamber Music

      Upload compositions written for a small group of instruments (including works with piano), or for solo instruments (other than works for solo keyboard)

    3. Choral, Vocal

      Upload compositions that extensively make use of one or more singers, whether in the form of a soloist or a chorus

    4. Piano Music, Solo Keyboard

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    5. Incidental Music and Soundtracks

      Upload video game music, film music and other forms not primarily intended for the concert stage

    6. Jazz, Band, Pop, Rock

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    7. Electronic

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    8. Incomplete Works; Writer's Block and Suggestions

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  3. Community

    1. Composers' Headquarters

      General discussion on composer-related issues and music composition.

    2. Repertoire

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    3. Performance

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  4. Educational

    1. Ask YC

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    2. Advice and Techniques

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  5. Competitions and Collaboration

    1. Competitions and Challenges

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    2. Competitions

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  6. Technological

    1. Finale and Sibelius Help Desk

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    2. Software and Hardware

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    3. Sound Libraries

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  • Posts

    • Three Pieces for Keyboard
      This is a set of three pieces, though composed individually, that I put together as a single opus number, each reflecting an attempt to compose within a specific style.  The first is a "sonata" akin to the single movement works of Domenico Scarlatti.  It originally started as a possible movement for my harpsichord concerto which I later just used as a stand alone solo keyboard piece.  It is playable for harpsichord or piano. The second is a movement in classical sonata form that was originally an assignment for a music theory class.  It's probably the most "pedantic" of the group being in very tight sonata form.  The last is a romantic style prelude.  It is a piano transcription of the cadenza to the ending of Fantasy for violin and orchestra that I wrote about 5 years ago.Sonata in c minor - score.pdfSonata Movement in A minor - score.pdf  
    • Rondo In G
      A delightful little piece.  I'll be honest, I didn't hear the rondo form but probably more because my ear isn't accustomed to hearing modern harmonies within a classical form.  I love the rhythmic complexities, keeps the listener off-balance in a good way.
    • Intermezzo (intermède) for Orchestra
      Hi all with the new websiste, I re-upload, one of my work. An intermezzo for orchestra. Thank you in advance for all the feedback. Here is the link to the score : Score
    • Rondo In G
      Hi The general impression es that of fluidity. All the techniques you mentioned are not perceived, but in a whole way, which I think is good. The melody is clear and interesting, it catches my attention. One of the "modern" aspects for me is the treatment of the "rhythm" section, very noticeable. The complex chords at the end are amazing, they sound "dense", reminding me some works by Rautavaara.
    • Rondo In G
      This is an etude in the form of a Rondo. I don't make too much of it except that it addresses the topic a of recent thread here about 'how to introduce asymmetrical phrases into your writing to give it interest and unpredictability, which are pretty much the same thing. The techniques I used are a malleable time signature (2/4), truncation of theme, inversion of theme, pointillism of theme, fooling the listener to hear the strong beats as weak beats and vice verse. And there is something like a Stretto, but not quite. Where the last bar of a line forms the first bar of the next line, effectively melding/confusing a proper cadence with a new line. 
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