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I agree! I love how Debussy moved his chord progressions along. Thanks for listening I love this too. The sneaky parallel fifths in that string of chords sounds "shiny" to me, my brain kept wanting me to tinker with the counterpoint but I ultimately went with my ears. Thanks for listening, I'm glad you enjoyed it!

Thanks for your feedback! The continuous repetition is meant to create anxiety in the listener! Don't forget that the piece is inspired by psychotic clowns; imagine those clowns repeating deranged attitudes toward a person, psychological torture.

Hi, yes, the program is an older version of Sibelius, that's why there are some problems.

Hi, I didn't intend for the piece to be in any particular key. Regarding the repetitions and the irritability you felt, I'm happy to hear it, since that's what I was aiming for with the piece: for the listener to feel that discomfort, which I associate with psychotic clowns burning the listener's brain.

Happy Winterval to all! This is a work I posted previously in the incomplete section, and it takes the form of a mini-concerto for violin (with the movements indicated by the rehearsal marks). It's more or less finished now; though I may still have to tweak some of the voice leading, and haven't started writing in the slurs yet. Since I last posted it, have added a coda at the end, and a whole bunch of counterpoint throughout the piece. (N.B. Rehearsal mark C indicates the start of the coda.) The work was inspired by Vivaldi, along with a modern work called "The Gold Standard" by Richard Harvey. (The latter was the main inspiration for the coda.) Think the most successful melody-line is in the second movement, as this carries emotional weight for me. The other two movements are more like baroque dance music. (I could imagine the cast of "Bridgerton" dancing to them at a ball!) I may have to cut the work down, as we're not really supposed to go over 5 minutes, and I'm now at 6. So any suggestions about where I could cut would be very helpful. Not quite sure the structure is properly balanced at the moment, or whether the movements gel together as a coherent whole? Any suggestions on what to name the piece also welcome. N.B. The dynamics and articulation are intended for midi rendition, and will have to be adjusted before I send it to the orchestra who are performing it next year.

This is quite an accomplishment, and intensely beautiful. I'm not qualified to say much more than that because of my rooting in Classicism, but you have my compliments. I hope the dedicatee appreciates it.

I am so honored to hear such a talented musician play through my piece! Trust me the mistakes are nothing! You played it so beautifully 🥹

p.s. i hope you don't mind, I attached a one-shot sightread of this piece. obviously a lot of mistakes as completely unpracticed, but I like playing through scores I like as it builds my familiarity + understanding of the piece. I think I feel less strongly about most of my above pieces of constructive feedback having played through the piece, other than still thinking that page 2 is unnecessarily floral for what is kind of a simple theme and the fugue does feel a little underdeveloped. Warning in advance that there are lots of mistakes but I think there are also lots of parts which alright and you might appreciate hearing someone else play through your music 🙂 you can hear me get a lot more confident at the recap -> coda I think.

Thank you so much for your wonderful words my dear friend. I'm so happy that you like it and appreciated it. I did my best with the whole Sonata. Thanks again for your wonderful words. 🙏🙏🙏🙏🙏

Oh this is awesome 🙂 very full of life and joy, lots of humour in the modulation that never gets too excessive but remains very deft and fun throughout. Everything phrase feels very deliberate and rewarding! It is hard to pick any favourite moments given how well considered the whole construction feels. Entrance of the main theme reminds me a little of I think Stephen Heller's piano sonata no.3 in C major, 1st mvt. 🙂 edit: forgot to mention, final 2 bars are an absolute delight edit2: it's piano sonata no.3 not 4, i misremembered

Yes, I mostly write in a stream of consciousness. I often use either modes or pitch-classes. Although, when I have 3-4 different, contrasting parts, I often try to repeat some or all parts, maybe in another way, slower, faster. Just now, I'm writing something where I take the first theme, which was made in C aeolian, I repeat it with the first two bars in A harmonic minor, the next in B harmonic minor (not transposed just fitting the notes in the new mode) and then harmonizing in these modes. So I rarely use strict functional harmony, although I sometimes do. My ideas for harmony is also inspired by modern jazz-fusion as well as classical. Someone like Allan Holdsworth, that wasn't educated in music, but created his own weird harmonic language with complex chords that sounds great (IMO) but without functional harmony. If my choice of harmonies reflect that, it's an honour! My "stream of consciousness" are also inspired by Danish late romantic composer Rued Langgaard, especially his 4th symphony ("loevfald" - the falling leaves). Also, I try to go a bit further sometimes, like taking some ideas from "twentieth century harmony" by Vincent Persichetti, and using that as a starting point.

To be clear: this is a really awesome and impressive work. I have included a bunch of constructive notes in this since you seem keen for some 🙂 listening/reading notes: Introductory page is extremely beautiful. Love the improvisatory nature, spacious without feeling empty [Have to say I am not a huge fan of the F major melody on page 2, it feels a little straightforward to me] Modulation in bar 26 is very nifty 🙂 Love the bass motif in the main F minor subject, very characteristic and memorable Reappearance of the intro subject at 67 is great, everything up to the build and surprise Bb chord (fun trick) at 94 is awesome [95-108 is a little meandering for my taste] Modulations through 117-143 are very compelling and exciting 160-163: *chef's kiss* reminds me of some Rach climax harmonies here. Arpeggios at 165-180 are a little extravagant for my taste Fugue at 181-196 has a nice idea, you have a great subject, I just wish it had a little more time to breathe (4 voices enter on the subject without any development time between their entries). in this area bars 190-195 feel the most effective to me because they feel the most balanced; the voices here have rhythmic variety to distinguish themselves clearly and there's a little more negative space to guide the ear. I feel like the classic fugal structure of introduce voices 1 and 2 (maybe 3 if you're feeling brave), and then have some development time before introducing more voices, would work well here. It feels a little more like a gesture towards a fugue than a fugue (maybe it's a fughetta). Recap is great 🙂 i do like this theme a lot. The crunchy move in bar 229 is great 263-290 feels like it could be trimmed. We've just heard this theme in the recap a few moments ago anyway, and the straightforward dotted rhythm is not the most exciting thing to zone in on for several more bars. It feels the movement on top of the tremolo is a bit slow. But the exit out into 291 is very beautiful. I love the intro, so obviously I love the outro too 🙂 And to be fair, the F major theme from the start pays off pretty well in bars 317-318, great way to finish. (Maybe just something a bit briefer / less extravagant than page 2 would suit me.) I really like this piece! I think there is possibly a 12-13 minute version that I *love*, but it is not my place to play editor haha

Hi Stig. Just listened to "Evening Sun" It seemed like a stream of consciousness; rather than something with a fixed structure (such as Sonata form, Rondo form, etc...). I found some of your harmonies quite interesting and unexpected. Perhaps this is your unique was of composing. Have subscribed to your You Tube: so will try to listen to more of your work in the future.

harmonies in bar 3 (loove the surprise Csharp) and 34 (yay raised sixth!!!) are my faves 🙂 whole thing has a wonderful melancholy vibe. the tresillo rhythm of the middle section is a fun vibe to bring into it

It is well-constructed but reminds me too much of these semi-atonal things I wrote in college, like my monstrosity of a clarinet sonata! So, I love it, but do not like it.

Very nice! It sounds to me a bit proto-impressionistic, like a young Debussy.

@Kvothe Hey thanks for listening! 🙂

Interesting...I might look into it if life gets a bit less crazy, as it has been for me this Fall!

You don't really need to learn how to use MuseScore. All you need to know is how to import a MusicXML file, and then export the audio file. Two very basic functions. The virtual instruments and voices are assigned automatically. Of course you can get better results by tweaking some of the dynamics and articulations; but you'll get a decent audio without doing any of that.

@Churchcantor Almost nobody is familiar with Jommelli, and more is the pity. His Requiem is in E-flat major, yet it still sounds appropriately sombre. There are several good performances available on YouTube. Here's a link to my favourite:

@Monarcheon I see what you mean. Luckily, though so far I have used high-D a few times, it was only on short notes, if I remember my own piece rightly.

I'm not familiar with Jommelli, though I do know the Michael Haydn Requiem (influenced Mozart's), the Bruckner Requiem (modeled on Mozart's and in the same key of D Minor) that he wrote at age 24 and revised later in life, and even the Salieri Requiem, which has some great vocal writing! Gee Whiz; the Jommelli Requiem was written in the year of Mozart's birth! How weird is that? I will listen to it. My Requiem is MODELED on Mozart's unfinished Requiem, if you listen closely and see how I broke out the text. It does not SOUND like Mozart, except for the occasional turn of phrase.

I guess I will do at least a BIT of musical work this morning, and go into Noteflight and extract what I have entered (most of it!) in order. Requiem in Bb Major-Introitus Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Kyrie Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Dies Irae Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Tuba Mirum Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Rex Tremendae Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Recordare Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Confutatis Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Lacrymosa Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Domine Jesu Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Sanctus Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Benedictus Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Requiem In Bb Major-Agnus Dei Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight The Quam Olim I and II have been entered, but not the Hostias or the final, cyclical movement.