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You’re welcome! Depending on the notation software you are using, there should be ways to get rid of excess measures or bound measures to a system. I had to spend some time on my own with my software just reading the handbook or shortcuts for this stuff lol

Hello M.K Piano, Thank you very much for the constructive feedback. I have tried to correct the score accordingly. Unfortunately, I was unable to successfully shorten the final bar. I must admit that some of these errors arise repeatedly because of the formatting, such as the incorrect ties on the pedal point. Thanks again. Fantasia with a change of mood new version .pdf

this is a bit of a vent piece and a self-soothing one. ive realized that one of my uses of composition is as means of escapism too. also keeping the titling convention of "To ...." of my woodwinds pieces. to look at your phone, to scroll through social media, to see strangers go out, doing activities with their friends and partners, to observe their poses as they look ever so content, to envy their posted achievements of their life, to fantasize how it looks like if you were out there having your own fun, to then have a dilemma of the smokes and mirrors of social media, to realize these posts are just highlights of their special days, to notice and understand their hidden struggles behind the pictures, yet, despite all of that, they still had those days. they still had the reminiscence of their experience. they still experienced them while youre here, stuck, as the world moves so fast around you, as you fantasize your own contentment alone. enjoy. feedbacks are welcomed. To Fantasize Contentment.mp3 To Fantasize Contentment.pdf

well less than a month later, i finally had the chance to comment on the piece more it definitely sounds operatic. i could definitely see this being like one of the first numbers of an opera. i could also imagine the orchestral sounds coming from the piano. the piece fits the text well. i like the subtle harmonic changes when the text sings the notice of a change, it feels like the desire to comprehend the changes around them. its gradual as well, from a month, two months, four months, as it leads to a climax. i like that the question at the end is cleverly treated as a punctuation, both in the music and in the text, before the final cadence. i like the sketch as well, its definitely virtuosic but i like the effective use of the piano figure as it travels to different harmonic context. the little introduction before the main stuff is also a good contrast to accentuate the preceding section. thanks for using my less than desirable poems lmao, and writing a little sketch dedicated to me!!

Super Mario Galaxy - Space Junk Road:

@MK_Piano Appreciate the feedback and the time! Definitely agree with the more active recap. I am still struggling with writing longer lines that I feel would give me a lot more space for expansion compared to my short cell approach. Funny enough, you mentioned the sight reading confusion with the key change. I try to be very mindful when I write to make everything very readable and in my head I thought the key change might help to understand where the structure is, but I totally see your point that for sections this small, it will just create more unnecessary information that might be a distraction. This is super helpful information because I want to create a compilation of sight-reading material for beginners progressing to an intermediate level. @Luis Hernández Appreciate the feedback and the time! Articulation sometimes is a struggle for me, definitely should be more firm with it.

A very pleasant sonata with clean lines. I’d classify it as early classical in style, perhaps with hints of musique galante. I think it would sound good on a harpsichord. But given that the piano has been chosen, I do think it’s advisable – as @MK_Piano rightly points out – to be thorough and precise with the articulations.

𝐌𝐀𝐑𝐂𝐇 𝐎𝐅 𝐓𝐇𝐄 𝐌𝐀𝐃 𝐌𝐎𝐃𝐄𝐋𝐒 | 𝐛𝐲 𝐦𝐚𝐯𝐞𝐥𝐥 The Conformity of Models MARCH OF THE MAD MODELS by mavell.mp3MARCH OF THE MAD MODELS by mavell.mid MILITARY COMMANDER MIX.mp3 MARCH OF THE MAD MODELS by mavell.pdf

Hello, @jejrekmek! It seems no one has commented yet, I wonder why. I find this track really interesting; the unique atmosphere is fantastic. Your exploration of rhythm is excellent, and I love the chaotic vibe, reminiscent of Igorrr, as well as your sense for harmony (I noticed you used some intriguing chords in your other piano pieces, too). The way the song unfolds is unpredictable as well. I see from your profile that you're around 18 years old? It’s really amazing that you’re creating such an original atmosphere at that age. Age might not matter. However, there is one point that stood out to me: the mix feels a bit rough around the edges. I’m not exactly good at mixing myself, but let me share my impressions as a listener. Upon first listen, the volume felt too high, and the vocals were getting buried by the instruments, making it difficult to clearly hear the melody and individual instrumental parts. Personally, I think adding a bit more reverb to the vocals or positioning them more three-dimensionally within the mix would help. You might already be aware of this, but how about using plugins like "DearVR pro2" to position the sound more precisely? Instead of relying on extreme panning (left/right placement), using such tools to position instruments spatially would likely improve sound clarity and the overall mix. You might also want to lower the master volume slightly. I think your work is really original!

Have you ever wondered how composers write music for sneaky thieves, clever characters, or playful comedy scenes? In this lesson, I'll show you a simple approach to composing a mischievous orchestral theme using melody, harmony, orchestration, and rhythm. You'll learn techniques that can be applied to film scoring, animation, games, and character themes.

Hello MK_Piano, Thank you for your response. I agree that there are a lot of musical ideas throughout the movement. The introduction, for example, is a continuous flow of ideas that eventually leads to the slow march-like melody. I believe the A theme returns effectively in the recapitulation. As for the B theme, I reused some motives from its first appearance, so it is perhaps less obvious that the fast E-major section represents the B theme. I must apologize for the improper use of the tempo markings in the score. Those were mainly intended to improve the MIDI playback and would certainly be revised before a live performance. I really appreciate your feedback, and I will definitely work on these points. Thank you!

Hello! On first glance at the score, no, it is not suitable for piano performance. Mainly caused by the page layout and measure size. Below, I have attached some annotations for you and a separate PDF of what is normal to see for a pianist. (Girl with a Flaxen Hair by C. Debussy) Photo.pdf Tristan - Revised Fantasie [ANNOTATED].pdf

Wow! What a cute piece of music to have listened to. Very reminiscent of classical style and a treat to come across. This said, I do have some comments regarding the work; partially with engraving and partially with the music/form. Engraving: From what I can see, everything is playable for a pianist, and with this style, or earlier, I would put more articulation marks like slurs or staccatos. It will help us understand the dance-styles better throughout the work/ see the phrase ideas more clearly. If I were to go and play this at my piano, I would approach it as a Mozart keyboard work and focus a lot on phrasing and articulation. For my preference, since this emulating classical style, I would also use classical dynamics (p, mf, f and ff) versus mezzo piano. Form: The thing that stuck out the most was not the musical content or the form per se, but how you notated each B-section in the first two movements. While Mozart did add key signatures for some developments within his sonatas, I do not think it is necessary to change the key signatures in each movement as they are so short. (Of course, change the key sig on each movement however) This is not a challenging piece in the catalogue of piano repertoire and if I were to give my students this to sight-read, even they could get thrown off by the signature change. I think it would be better to remove the G-major signature in mvt. 1 and keep the sharps explicit. Same in mvt. 2 with the C-major section. Lastly, I do think in terms of musical content, you can mess with a more active recap (or final A in the rondo form) in each movement. Simply hearing the themes again without a change in the harmonic scheme or texture in a big way leaves each movement as a little lackluster; at least in the way they end. Here is some food for thought and I’d be curious to see what you can come up with in the future. Good Job!

Hello, what a lovely little work! Did you intend for this to be played on the specific type of harpsichord (French or Italian)? Depending on the builder, you can have two manuals and most come with a lute stop. I have two I can access at my university and can try it out sometime within the next two weeks. :)

Hi! I have some initial comments, however wanted to ask about the score PDF to place specific feedback on the score. Would you be able to share? Comments: I thought overall it was good; however, there are a lot of ideas throughout. Even with the structure chapters on YouTube, I found it hard to grow attached to one idea as it felt you would change texture every other phrase. Outside of this, the main thing that caused me pause is their overall engraving. You have various moments of duplicate information like Arco texts, dynamic markings on rests, a lot of tempo instructions, etc. With the constant tempo changes, it felt like some of them were for midi playback so you can make sure a ritardando or transition felt right in the interpretation. If you give a tempo marking, we also expect to see some sort of adjective, or if it was a general “increase tempo” instruction, to see words like “Piu mosso” or “sempre mosso”. Good work!

CHOPIN | Imperial Bösendorfer 97 key : rendition-import A.Nocturne Op.9 No.2 (in E Flat Major).mp3B.Nocturne Op.9 No.1.mp3 C.Fantasie Impromptu (Op.66).mp3 Nocturne Op.9 No.2 (in E Flat Major).mid Nocturne Op.9 No.1.mid Fantasie Impromptu (Op.66).mid Nocturne Op.9 No.2 (in E Flat Major).pdf Nocturne Op.9 No.1.pdf Fantasie Impromptu (Op.66).pdf

Megami Tensei Gaiden: Last Bible II - Dungeon (from an SMW rom hack): LB2_-_Dungeon_3mix.mp3

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Ello! This was as a small test i did with the vocal synthesizer i use to see if i could use other soundfonts with it, and it turned out pretty nice, i like this aria very much even though it has it's flaws. I hope you guys enjoy! LOB 104 Dolce Cioccolata.mp3

Hellooo, This is a very short galliard for keyboard with the diminutions written out, in a real performance scenario the diminutions would have been improvised by the player on the spot, but since i can't perform it and i don't have a harpsichord (yet) i just have written them note by note. Enjoy! LOB 107 Gagliarda Detta la Maritima.mp3

Hello everyone! This is my first complete sonatina in three movements: I. Moderato – A simplified sonata form movement that introduces the main musical ideas. II. Andante – A gentle minuet-like movement that provides a moment of calm. III. Allegro – A lively rondo that brings the sonatina to an energetic and satisfying finish! Hope you find some enjoyment in listening and all feedback is welcome! YouTube link ScI. Moderato.mp3ore II. Andante.mp3 III. Allegro.mp3 I. Moderato.pdf II. Andante.pdf III. Allegro.pdf

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Thank you so much, my dear Henry ! Your comment truly means a lot to me, especially coming from someone with so great music perception and skill of composing. I'm especially happy that you noticed the Scarlatti influence. His sonatas have been one of my greatest sources of inspiration ever since I began composing, and the Binary Sonatas are my own humble tribute to his extraordinary musical world. These sonatas also hold a very special place in my heart. They are my musical diary, reflecting my thoughts, emotions, and experiences over the past few years, which makes your appreciation even more meaningful to me. Of course, my goal has never been to imitate Scarlatti, but rather to let his spirit inspire me while gradually finding my own musical voice. Your observations about the echo effects, the sudden modulations, the dialogue between the hands, and the changes of mood made me smile because those are exactly the elements I enjoy exploring the most. Thank you once again for your wonderful words and for your continued support over all this time. It truly means a great deal to me, and I hope you'll continue to enjoy the musical journey ahead.

Ah ah ! Chers collègues compositeurs, que ce message serve de déclaration officielle de ma participation. Je suis ravi que mon thème ait été retenu comme gagnant. Je suis sûr que vous allez tous adorer ce poème français et j'ai hâte de découvrir la musique que vous allez composer ! TL,DR: I’m in boss 🫡

I love the suggestions. I also didn't notice that I'd had them playing where only the instrument above the secondary was playing melody. Just sort of happened that way I suppose. Regarding piano, I would've liked to do something more for the 41-48 section for it, but for the sake of maintaining simplicity, I thought against it, as I quite liked piano playing the role of rhythmic and harmonic support throughout this score. And it seems great minds think alike ;) Thank you for reviewing! -Unc