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Thanks! Very glad you enjoyed it.

It's really funny that you said this but I really only sketched out 2 themes: b.1 - b.35 forwards and the waltz, then, I added in the theme starting from b.36 in the middle of realizing the sketches. I kid you not, I did not add any materials outside from these themes. And you know what's even funnier? Those three themes has motifs of the first theme, particularly the first 5 notes of the first bar on left hand. In fact, it is a very very important motif. All of the other things that you heard outside from this are literally developments of these three themes, heck I could even say that the 2nd theme is a development of the first theme. The bit from b.97? That's a development of the waltz. The three 8th note figure from bar 101? That's also from the waltz. What about bar 109? Whoopsie, that's the waltz version of the first theme. What about bar 117? That's just the combination of the waltz theme and the first theme. Bar 129? That's the rhythmically augmented version of the first theme used as transition, and the bit after that? It's a repeat of the whole first theme with little variations. What about bar 151? That's a development of the transition from b.17 onwards, which is then used to transition to the repetition of the second theme. 2nd theme repetition starts from b.159, much more sweeter. Then I literally just took that theme and develop it even more on bar 175 onwards with more movements. What about bar 189? Oh look, the three 8th note figure is back but I developed it even more so that I can use it to transition to the waltz theme. Ooh the waltz theme now is a bit more calmer, more melancholic. What about the bit from bar 212 onwards? It's the Coda containing all previous materials that leads to the Risoluto section, which is again, just the development of the first theme. Bar 245? That's just theme 1 and theme 3 played together contrapuntally. Bar 250. It's bar 9-10 from theme 1 played and developed with the waltz theme. Bar 259? Sadder version of the first theme, which rises up to.....the three 8th note figure with a dissonant that eventually resolves to the tonic. And it's part of the first theme. I've added no new materials outside from these three themes. Though I get that you feel lost sometimes. I'd say the developments kinda distort the themes so it's unrecognizable on a couple of listens. But trust me that I only use the same themes throughout. I don't play the piano but honestly I don't mind if a player would execute some passage differently than my own intentions. If it works, it works. I'd probably revise though If I were given feedbacks on that. Before :30, that's a transition to a repeat of the first theme. Then at :47, I mean I used that second theme to contrast the much more rhythmically heavy third theme. I could also argue that the lost of the drive is worth it cus literally the next section is a build up to a climax and it's so much more exciting. No. 2 and No. 4 are like, 20% done, No. 3 is 40% done. Hopefully I get enough motivation to actually finish this suite too! Thanks for the feedbacks! Really appreciate it.

Wow, this is amazing! I think this style definitely suits you, and I really like hearing that you had the chance to work with the performers. It's great you got such a nice recording, but the knowledge you've gained is invaluable. Wonderful work, buddy 🙂

This was a lot to digest, but I liked it! I have to admit, it took a few listens to grasp everything going on, but there's no denying your talent with composition. It's wonderful. I feel like I've asked but I can't remember... do you play piano? It seems very difficult in some areas, and although that's not bad, I just wonder if this could be executed how you intend. What I love about your music is how fresh your ideas are. I guess I'm speaking of your music in general instead of just this piece, but it's a pattern I've noticed. Something I would be mindful of is to me you really teeter the balance of too many ideas and developing existing ones. I think your balance works, but sometimes I wish you would strip down the amount of new musical material you write within a piece and develop more. Maybe you do this and I don't always hear it, or maybe it has to do with how complex your music gets. I just get lost sometimes listening, and it might help. It's not necessarily your language, btw. For instance, right before :30 we're hit with a ritard... but I was just getting into the rhythms! Now at :47 or so, there's another change of pace... all that drive we had lost again. You could argue that is the effect you're going for, but it's just an example of what I mean. However, I'm reminded of Debussy pissing off his professors because he didn't develop his music the "right" way. I do like your free flowing jazzy way of writing, I think it's a really vibrant way to approach form. I personally just need my ears to rest a little when listening to your music. It's like, your flavor of cheese is great for nachos, just don't drown them! The score looks amazing to me, bar 92 D# should be Eb was the only thing that caught my eye. I'm excited to hear the other pieces in the suite, hopefully it isn't too long before you continue them!

yeah, just a wacky modulation to G-flat major tonic they're actually the mood that I'm trying to achieve, thus "whimsy." so, it's great that you felt that way! yeah I could see that, I guess the harmony is similar to debussy, and the carefree-ness of both music, is similiar. well, this is actually my attempt at that since I've been working with existing materials and wanted to actually go back to composing original stuff so, there ya go. i guess i could try with the no variations. i'll keep that in mind. Thanks for commenting!

Great piece! are the mistakes at 10 - 12 on purpose? kinda playful and goofy in a good way, but also sincere. this literally reminds me of untitled goose game music😅 can't wait for more variations! (P. S. maybe sometime try making a 5 or 6 minute original song with no variations?)

hello been taking a break from working on the variations, thought I'd continue working on this piece. if you had already read my catalogue, then you'd have probably known the other planned movements already. movements planned: No. 1 : Whimsy No. 2 : Home (Omah) No. 3 : Scherzo No. 4 : Affection No. 5 : Festive i'll continue to work on the variations after this as always, enjoy the piece. lemme know what you all think!!!

I always love ragtime pieces, and yours is really charming! I especially like how some of the cadences are a bit ambiguous and unpredictable. I think it keeps the piece fresh with the repetition. I also like how you combine both theme from A and B in the Coda. Overall, I think the piece is pretty solid and I enjoy listening to it. Thanks for sharing!

No problem.

Turns out the BBCSO issue was down to Spitfire, not MuseScore. It seems they've updated their software recently, and done it in a particularly stupid way, forcing customers to re-download every single instrument pack one by one from scratch!

A little ragtime piece I wrote this week. Any comments or feedback would be appreciated!

Hey Mark, Elated that you like my work. I haven't listened to any Milhaud, but thank you for sharing. I know he has a lot of jazz/popular influenced works, like this samba: The work you sent seems to derive a similar style, especially the second movement.

Wonderful! I loved all of it

Thank you so much! I greatly appreciate your feedback and kind words! It was a fun project, song was made about a month ago. Video was shot and edited in about 24 hours. I do love the spooky themes in my music! As for the release, I'll be doing a wider release on my socials and whatnot in October, but the festival I'm submitting it to needed submissions by August 31st, and felt like giving this community a little early look, since I scored it as well. Again, thank you so much for all the kind words!

Hey everyone, Here are a few tracks from my new album aimed at TV and Film licensing. Once again focused on the action/adventure genre, but this one has a greater focus on modern cinematic music and fusions of genres from around the world. Everything from new age, to rock, to latin pop and inspired by films like National Treasure, Tomb Raider, 007, Pirates and more. Hope you all enjoy it. I'll update the thread as I upload a couple more tracks to the ol' YouTube, but in the meantime, if you want to check out the rest of it, you can listen on spotify https://open.spotify.com/album/5VacPSF2HmD200E2NKCZmx Thank you.

Finally managed to get some time to finish this piece. Uploaded below should anyone wish to listen. Hope everyone is well.

My piece is more serious in tone, but I do like PDQ Bach. "Found a peanut!" Least expected opening line of an opera ever. 🙂

Wow that was incredible! The modulations in the second half of this invention seem incredibly smooth. 40 seconds in you really start to experiment with the harmony, and I think you do a really good job at making the transitions as seamless as possible here. I just wish this was longer, because I feel like you really start to take advantage of the microtones around 40 seconds in, but then you conclude way too fast after that, just when things were getting juicy!

Hey thank you very much! I just realized that the subtitle track was wrong. It's fixed, we can activate English subtitles without problem. In any case, thank you for listening.

Yet another microtonal invention. This time using syntonic commas to better approximate just major and minor 3rds. Although I am a bit puzzled why I had to use a three-syntonic commas sharp sign to make playback closer to a just major 3rd in this. Maybe it's some kind of Musescore glitch? If any microtonal aficionado knows, I'd be grateful for your help! I'd appreciate any of your comments, critiques, suggestions or observations. Thanks for listening and I hope you enjoy!

I am playing a slightly simplified version of the blue Danube waltz on the violin, and the peace requires me to switch from pizz to Arco quite a lot actually, and I was just wondering, how on earth should I hold the bow if I have to keep pizz-in and then take a quick rest and then quickly go to Arco again? Should I do it with the index finger or the middle? Or is there an easy strategy anybody knows? Thanks!😊

The only thing I might suggest is to bring out the melody a little more by either lowering the right hand by an octave (in some parts at least). Sometimes its hard to hear the very high notes, especially when paired with the deeper notes of the left hand. But aside from that, the music itself is beautiful, especially in this context of an Ice Cave.

A very good effect overall. The high tessitura of the melody, as well as the arpeggios in that area, give a very ethereal effect and also suggest drops of water falling. Another thing that I think contributes is leaving the note suspended in the second part of the bar in the accompaniment. There are also some very beautiful harmonic changes, such as in bars 6 and 5... It sounds fantastic.

The waltz sounds very good and has some surprises at the end. The study, in the bars where there is more counterpoint, still sounds basic. For example, because the accompaniment sometimes takes notes only from the chord in some bars (9, 10). Also because there is obvious parallel movement (13, 14).

This reminded me of the things Brian Eno used to do.