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I like it because it is different. It's 'you'. In the result, it shows your own inspiration, more than mine. But It's like being schoolmates taking the same course, lol. I'll take the time for analizing the score and get back.

For further context This is the last and final movement of the whole entire series. The whole entire suite took me from December 2022 to the January 2025. Which this may have took the longest, if not the betrayal or the origins. The rejection for some reason took me the least amount of time, though it was the most important movement. This is where all problems are resolved, if not further extended. Plot summary for those who need it: This final movement reflects the aftermath of deception, betrayal, and manipulation. Ross finds unexpected support as Fiona and the Girls take his side, offering moments of solidarity amidst the chaos. Aldric continues to plot, holding meetings and spreading misinformation, particularly misleading Clara, who is unrelated to the unfolding conflicts. At a gathering, Ross’s attention turns to Isolde, whose flirtations pull him into a state of confusion and emotional conflict. An interlude offers a reflective pause, followed by the sunrise—a moment of fragile hope. Tension peaks as Aldric reveals a secret, testing Ross’s courage. The Rejection Rings are mockingly forged, representing the last remnants of Aldric’s manipulative control. Ross confronts Aldric, struggling to reclaim his dignity and agency. A few days later, Aldric arranges a civil meeting with Ross, only for the portrait of Aldric to be used as a tool of public humiliation. In this final act, the dynamics of power, trust, and social perception are laid bare, closing the cycle of conflict and leaving Ross to reflect on all that has passed (important crotale to marimba playability). Since this project was divided by other projects most of the percussion parts aren't constant in variant number the first movement had for mallet parts if there are any extra remaining people, then quick mallet changes could be performed by them.

Hi again @Frederic Gill! I decided to write my own invention based on the same motive here: Let me know what you think!

@Frederic Gill inspired this one. He wrote an invention as an exercise from one of his Counterpoint books on the same motive that you can hear here: I was inspired by his attempt so I decided to give it a try myself. Thanks for listening and I hope you enjoy and let me know what you think!

I have several: Music theory matters and learning everything about it should be one of your top priorities Just because a few people out there have different tastes/opinions doesn't mean it's all "subjective" Get it right at the source; "mixing" can't do anything about bad pieces and crap timbres It's better to be great at one genre of music than middling in many Don't forget about woodwinds Avoiding "parallel harmony" in melodic lines to mentally appease the spirit of Bach, who is dead, will hold your orchestrations back from their full potential Work with live musicians as much as possible Compose something every day A 2 minute piece people want to play on repeat is better than a 5-minute epic they'll only listen to occasionally Improvisation has its place, but you should use it sparingly; every note should have real thought behind it. Friends don't let friends imitate Schoenberg A recording/mockup should be seen as inseparable from composition rather an interpretation of it and should therefore be as polished and the very best presentation of your piece as possible; "raw" or "live sound" is usually a cope.

update: feb 8 I have composed something that is more conform to an invention. see 'v2'

Did I miss something?

The breve is funny. What about Longa? 50000?

Take your work seriously but don´t take yourself seriously.

I've used an 8-bit soundfont here because I have not found any orchestral soundfonts that I liked. Everything has just too much vibrato and too heavy a texture from a HIP (historically-informed performance) point of view. I think Bach works well realised as 8-bit music so this is the approach I took. If you prefer audio which is faithful to the original instrumentation then I've attached a version of it here.

38 years or so, this was 1997!

Oh sorry 😔

We already got this badge!

How about @PeterthePapercomPoser There is a badge called "Going to be popular" given to people who have a reputation of 100 or more.

Somehow I also missed this one: The "Bestowed Maestro" badge for 10,000 reactions received!

Looks like @Omicronrg9 already created badges for just such a purpose! From the bottom up: Local Celebrity Trending Artist Eminent Personality Famous Worldwide Nobody has yet received the "Famous Worldwide" badge nor the "Eminent Personality" badge.

Continuing with the Scale Materials Chapter in Persichetti's "20th Century Harmony" I wrote this Clarinet Quintet. The prompt was "8. Construct a solo clarinet line in the lydian mode supported by phrygian string quartet harmony. Set both the melody and harmony on the tonal center Bb." Thanks for listening and I hope you enjoy and let me know what you think!

Oh then maybe the criteria should be a thousand or higher

That's a neat idea. Except that this would not be a manually awardable badge but based on a rule (10,000+ reputation). The other problem is that right now the highest reputation held by anybody on the forum is @Henry Ng Tsz Kiu's at ~2,000. 10,000+ reputation seems like quite a lofty goal if nobody in the whole history of the website since the early 2000's has ever achieved it!

How about the "everyone's favourite" badge if your reputation is over 10 thousand points or higher

This sounds really nice. How long have you been composing scores (just curious)?

Another small invention I created in 2022. The motive is in me1-2. When I saw it I thought 'what the hell am I gonna do with this thing?' And to my surprise, something came out. I couldn't help but bring variations to the motive's repetitive notes. I think the result is somewhat funny.

Thanks for your feedback. I'm here to have peers pointing at flaws that I have not noticed yet. This way I can improve faster. I don't consider figuration as a true accompaniment, like the counterpoint in bass. The aim of the exercise is to keep the (imposed) figuration (in the middle voice) mostly constant throughout the piece, so that it doesn't distract from the melody and the counterpoint. All but with some changes at key points, to avoid monotony. Which I did. I found that 3 variations of the motive with that fast & complex figuration was enough. All my exercises so far are without dynamics or accents, and for sure they lack it and are just exercises, not finished pieces. Yes there was a lot of harmonic potential to develop from this motive. In the same exercise, I had 2 other figurations to apply with that motive, but it is this figuration that made a strong effect on me. So I wanted to explore and develop the harmony the way it makes sense to me.

Hi everyone, I finished a new piano piece called Cloud Ame and wanted to share. I hope you enjoy listening and welcome any feedback! Thank you

Nick, I really like this arrangement and am looking for something with this instrumentation for an upcoming concert. Could I purchase a copy from you? Thanks, -Christopher