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In the Mega Man series, Dr. Wily modifies Dr. Light’s robots and makes them fight against the protagonist. I wrote this piece in my third year, second semester, as a kind of musical “attack” aimed at a senior I really wanted to beat at the time. 😂 It’s a piece I created by modifying and reworking works by Christophe Bertrand and Niccolò Paganini. But I ended up losing and came in second place.

As per @Lithl 's suggestion, some new badges have been published! Yes - good point! If you wish to anonymously nominate someone for an award, you can message any of the staff privately and we will take your nomination into consideration!

Around 1:57, the audio quality suddenly sounds compressed until the end of the video. Not sure why, however, when editing, I didn't notice it. Hope that clarifies!

??? I didn't hear any audio mishaps? Great job on the piece! Very romantic style. Thanks for sharing!

If you watch on YouTube, I am unsure why there is an audio mishap near the end. I only noticed it after it uploaded to YouTube and I have been too lazy to go back and fix it 😅.

Hello everyone! This post marks one of the few solo piano pieces I have created. As a classical pianist myself, there is a certain abrasion to writing for the pianoforte that I have come across. It has a special connection to me for my own expression, whether it is by performance, teaching, or discussing. To write for it alone is a daunting task as I hold a lot of respect for the composers who came before me. This said, I wish to present Sternenliebe to you all. Written in 2025, this work captures passionate love. It was my letter to an admirer, however, our connection was never realized by the time I left for a new chapter of my education and career. Attached on the manuscript was this message, and when reading it now, the more I reflect on what could have been: "Not a day will go by where I don't think of you. Not a night will go by where I wouldn't wish to see you. This piece is my reminder that each time you look to the sky, I am under the same stars looking back hoping to embrace you again. When you hear me play it, know it's because I am thinking of you." I hope you enjoy this nocturne I have created! If you want a little more information on the structure of the work, you can find it on page 3 of the document (marked as page 1). Lastly, besides the score, attached is a video of me playing it! https://youtu.be/9Zz_voOD3r0 SCORE_Sternenliebe.pdf

What is that? It looks great.

My dear friend, Henry I really enjoyed going through this Scherzo. There is so much musical thought behind it, and I found myself discovering something new with every page. What impressed me most is the way you handle the texture: the voices are constantly interacting, imitating, answering and overlapping one another, creating a very alive and organically developing musical surface. It never feels like simple accompaniment supporting a main line — the whole ensemble seems to breathe and move as one. I particularly loved the development section. I think this is where your compositional thinking really comes through. The way you take small fragments of the thematic material, redistribute them between the instruments, transform them rhythmically and harmonically, and gradually build the tension is extremely effective. There is a genuine sense of motivic development rather than simply repetition, and I found that especially satisfying as a composer. The harmonic language also really caught my attention. I absolutely loved the modulations throughout the movement — some of them are wonderfully unexpected, yet they feel completely natural within the musical logic. I particularly enjoyed how the harmonic changes are connected to changes in colour and texture, rather than functioning merely as changes of key. There were several moments where I felt a beautiful Schubertian quality, especially in the harmonic movement and the way certain ideas seem to expand almost organically. In other passages, however, I was reminded of Brahms, particularly in the density of the inner voices, the motivic development and the richness of the harmonic texture. I found that combination very fascinating. I also really enjoyed the character of the Scherzo itself. It has this wonderful mixture of playfulness, darkness, nervous energy and even a certain sense of irony. The “confuso” aspect is not simply created through speed, but through the interaction of rhythmic layers, accents, articulation and constantly shifting instrumental roles. That gives the movement a very distinctive personality. As a composer, what I appreciate most is that beneath all the technique there is a genuine musical personality. I can feel that you are not simply trying to write something “effective” for the ensemble; you have a very clear musical imagination and your own way of thinking about harmony, texture and development. That is something I respect enormously. It was a real pleasure to study this, my friend. I know how much you appreciate my own music, so I want you to know that the admiration is absolutely mutual. I have great respect for your work, and I genuinely enjoyed spending time with this movement. Congratulations on a beautiful and very thoughtfully crafted Scherzo! ❤️

📑 𝑻𝒉𝒆 𝑺𝑰𝑮𝑵𝑨𝑻𝑼𝑹𝑬 | 𝒃𝒚 𝑴𝒂𝒗𝒆𝒍𝒍 THE SIGNATURE by Mavell.mp3

My dear Henry, thank you so much, my friend! ❤️ I’m really happy that you noticed that particular moment with the Neapolitan — it’s one of those harmonic moments I especially love, and I’m very glad that it felt so magical to you. And the fact that you describe my music as a mix of Schubert and Scarlatti is a huge compliment to me, especially coming from a musician and composer whose work I appreciate so much. They are two composers I deeply love, and in my own way, I feel that I find something of myself in both of them. Thank you sincerely for your beautiful words, Henry. Your opinion means a lot to me, and I’m very happy that we can continue sharing our music with each other! ❤️ Also, when I find some time, I definitely want to listen to the Clarinet Quintet you posted. I’m really looking forward to hearing it! ❤️

Hi @Lithl ! Thx for your review! I learn from my past failure and you can check out my first post here, it’s the earlier version of the quintet and the dynamic there is so bad 🫣 To me this movement is about dark and crazy energy despair brings me. The 1:53 melody is a sarcastic one to play with, and 5:27 even more sarcastic when I failed to claim transcendence for my suffering haha. The ending represents the exhaustion of energy with pizzicato as this gives way to internal reflection for the 3rd movement (which I consider the best movement of the work), so stay tuned! Henry

Thx Mike! I think in the 4:20 section I keep having the same melody repeating, so I need to have instrumental changes in order to be less monotonous and appear more skilful lol. I like the 7:30 passage too and I agree it’s Beethovanian with its lower register! Henry

Hello @Nazariy! I’ve been interested in this piece for a while and have listened to it on and off; however, because of its length, I’m a bit late in sharing my thoughts. So, I’d like to take this opportunity to offer some feedback. First of all, I was impressed by the high level of craftsmanship. Beyond the overall structure and the unique appeal of each movement, the music is simply a joy to listen to, with wonderful melodies and rhythms. The melody starting at 9:39 in the "ELEGIE" stuck with me. Personally, the "SCHERZO" is my favorite; I love the balance it strikes between tension and a lovely atmosphere. The rhythmic section around the 5:19 mark is also great. However, there was one thing that caught my attention: the volume balance felt unnatural in a few places (for instance, around the 4:52 mark). It came across as somewhat mechanical. While the performance itself is excellent overall, that specific aspect did bother me a little. That said, the work as a whole is truly wonderful, and I really like it! Best, Lithl.

Hi @Nazariy ! I will review each movement in each to earn more exp lol. The prelude is really solemn and to me well fits to the medium of string orchestra. My favourite moment is b.31 with that F# minor melody, and I also enjoy moments when you give the lower strings to shine. Make sure to mark divisi in b.20! Thx for sharing! I should continue reviewing the later movements. Henry

Hi @Vasilis Michael ! Another great work my friend! That Neapolitan F major resolved to E major in 0:40 sounds so magical to me. I would describe your style as a mix of Schubert and Scarlatti! Both composers are magical in their modulations and you too! Henry

Thank you, I just had for be honest and face the fact that it major structural holes and a I made a lot of poor choices, harmonically speaking, so it was time for it to go. It was fun to work on while it lasted.

Really need courage to cross out passages you wrote! But you can always recycle materials for other pieces so there won’t be waste! Henry

@Henry Ng Tsz Kiu, @PeterthePapercomPoser, really thank you! You guys taught me how to fish! Thanks to you, I think I'm going to have a full belly. But wait. Where's the side dish?

My dear friend, thank you so much from the bottom of my heart for this wonderful comment! ❤️ I’m incredibly happy that you enjoyed the sonata, and even more so that you noticed so many details in the music, from the dynamics and tempo transitions to the interplay between the two hands and the way the music leads towards its conclusion. These are things that are very important to me when I write. And what you said about my scores—that you can somehow sense the thought and warmth behind their creation—really touched me. For me, a score is not simply a way of writing music down; it is a part of my thoughts and a little piece of myself. And as for Scarlatti, your comment is an enormous compliment to me, because his music has had such a deep influence on this part of my musical journey. 😊 Thank you again for your kindness, for taking the time to listen to my music so carefully, and for continuing to find something of your own in it. I truly appreciate it my friend! ❤️

Um... is this an undiscovered work by Scarlatti or something like that? Anyway, some people in this forum have amazing compositional skills and knowledge. Not everyone does, though, and I mean, hats off to such people. And I think you are one of them. At least, I think so. You have amazing composition skills. I appreciate this piece. The resonance of the sound is great, and it excels in every respect—from the dynamics and tempo transitions to such a smooth, flowing quality and a well-executed conclusion. The interplay of sound between the left and right hands is also nice. It feels as if the sound is sparkling. By the way, I like your sheet music. I’m not qualified to judge the technical accuracy of the scores, but there is a certain quality to them—you can sense the deep thought that went into their creation. They have a real warmth to them. Ok, this world is "so fair" that even when we compose for ourselves as a hobby, etc., there are magnificent differences, haha. Hats off to you, again, @Vasilis Michael!! I like your pieces! Best, Lithl.

Hello my friends! I’m happy to present my Binary Sonata No. 26 to you as well. I hope you enjoy it!

A friend on discord provided me with this virtual treasure trove of an article about the topic of Fragile, Emergent and Absent tonics from the popular music of the 60's, 70's, 80's and 90's: https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html There is an available pdf link to download the article and musical examples.

In a sense Chopin's Ballade no.2 does the same thing, although Chopin goes even one step forward by destroying the false repose of F major all along with the cruel but real tragic A minor ending.

I agree the key of the song should be C# minor modulates to E minor with heavy reliance on deceptive cadence. Maybe the songwriter wants to signify the peace represented by the VI chord is full of undercurrent of i. Henry