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I see them. They're the tiny little arrows attached to the accidentals (see image below).

Hi @therealAJGS! It does sound obsure but I quite like it! Maybe adding more instrument change to it would be great as well! wow, I never write anything effortless! Henry

A really nice fanfare! You certainly preserve the general character till the end without sounding artificial at all. You maintain the 027 set and quartal chords very well and the trumpet makes the more hollow sounding chords full. I myself might write for 3 flutes here. Thx for sharing! Henry

Hi @PaavolaPyry! It does sound improvisatory with all the sudden chord progession but I like it. Nice playing as well! To me it sounds like a Lute Baroque prelude in more modern chords. I am sure @PeterthePapercomPoser would like the piece as well as he wrote a lot of microtonal pieces, and @Thatguy v2.0 wrote many great guitar pieces. I hear some of the microtones but don't see them on the score, will you add them on the score? Thx for sharing! Henry

What an enjoyable concerto for trumpet. The theme of the opening movement reminded me of Hummel's trumpet concerto's opening movement's theme. Bravo. I wonder how much time it took you to compose it. Also, are you trying to have it performed?

Thanks to @Churchcantor, @Henry Ng Tsz Kiu, and @bkho for listening! I'm quite gratified by your comments, because I really am quite happy with the piece.

This is my "Three Sententiae for Glissotar, Op. 386", a piece I composed last year. The glissotar is a newly invented instrument that is a version of the Hungarian woodwind instrument "tarogato" but with the distinction that the notes are not determined by holes as in most woodwind instruments but, as in string instruments, by pressing the fingers anywhere in the range; and glissandos are possible. I had to create a new soundfont for it in order to be able to make this mp3 version. I have provided a description of 'sententia' as well as of 'glissotar' on the title page of the score.

Quite an impressive work. Honestly compares quite favorably to my ears at least to the classical trumpet concertos which I tend to find forgettable. Bravo!

Very serene, and sad at the same time. I feel like this style can be a candidate for some Zelda music perhaps. Or maybe a segue scene in an RPG game. Peaceful, yet you can tell there's still friction in the air.

Get musescore studio. I use that.

Any feedback is largely appriciated. Thanks in advance.

Please note that this is the FIRST movement of this symphony. I will make more movements on the not too distant future. Please enjoy! Here is the pdf: https://drive.google.com/file/d/1WL7JfQ4C3eoPIUxdXETpMme3a9HIsS_e/view

Hi @Aiwendil, Now is the time for the 2nd movement. I like the broad theme and structurally you keep varying and contrasting which makes the movements more interesting. Structurally the arch form is also interesting. I really love b.27 when the orchestra takes the lead as it sounds really grand, and more so in b.140 with the dialogue there! The turn figure in the D minor contrasting section definitely reminds me of Don Giovanni. B.73 passage reminds me of Beethoven’s 7th’s slow movement, good use of the opening theme. B.116 horn solo really gives a broader sound contrast with the trumpet soloist. Love the ending as well. Looking forward to the finale! Henry

Thank you as always for you attention and your appreciation my dear Henry 🙏

Hi @Vasilis Michael, As I mentioned in YouTube the influence of the slow movement in Schubert’s D960 is quite notable here! (As well as the same key of D959 slow movement) The turn to a surprising F minor chord and subsequent F# minor return is a good use of the interchangeability of Dom 7th and Ger 6th chord like Schubert’s usage of them! The rhythmic usage also reminds me of Schubert, as well as the ending! Thx for sharing. Henry

I love the quartal chords, and the harmony in b.10! I literally do the same thing in my Sextet when C and Gb pentatonic just juxtapose with each other. I also love your sul tasto touch! Henry

I was thinking about the ice that's formed here on the ocean. How in foggy conditions it looks like it never ends. I'd like to go sit at the beach of my cottage with an omni mic and just stare into the fog and play this... This is also a slight experimentation on both microtonal tunings (aesthetic) and in player's freedom. You'll note that my recording sounds a bit different to this (and was actually played on steel string guitar), but that's the point :D. I often feel that the player is not given enough free reign to interpret what they are playing - not enough free reign to bring themself to the stage. So this is a slight complaint to that I suppose. All thoughts, feelings, colours, landscapes, gibberish, textur 21st of jan.mp3 es that come to mind please tell me.

Hello my dear composers. Here my 2nd movement of my latest Sonata. I hope you like it.

Sad, I'm too old for it!

Quite excellent! More like Haydn to me. I am good at using elements of the Classical, Baroque, or even sometimes Renaissance styles, but am not good at staying in style!

Thanks very much for listening, and for your comments! I try not to let adhering too strictly to a Classical style get in the way of experimenting with harmonic surprises like that episode in F# minor. As for the end of the cadenza, I don't feel that a concluding trill is a strict requirement for a cadenza, and I'm happy with the way I ended this one. Though really, the cadenzas I wrote are just intended as suggestions; in the very imaginary world where this would ever be played by a real person, I think the performer should be free to make the cadenza their own. Looking forward to reading your reviews of the other two movements!

Fantastic. You took the exercise to the extreme without compromise. Everything is vertical structures. But the sound is very consistent throughout and captures the interest. By the way, that book by Persichetti is wonderful.

It's good to see how others organise themselves. The idea of working on the sketch in three staves or more, depending on the volume, is great. Perhaps in a future project I will try to do the sketch for solo piano, as the intention is not so much to imagine orchestral colours as to establish the structure, parts, climax, harmony and rhythm.

The Choral Project is proud to announce our annual choral composition contest! High school (grades 9-12) and undergraduate college students are eligible to submit their choral works for consideration. Compositions should reflect the theme and name of our June concert, "HOPE & FREEDOM," exploring the nature of life from many angles and the possibilities of a better tomorrow and a more compassionate world. Submissions must be received by 5:00 PM PST on Saturday, February 7, 2026. First Place: $1,500 • live 2025 performance of work • recording of the performance | Second Place: $750 | Third Place: $500 https://www.choralproject.org/contest

Glitter and sprinkles, you want me for the feast, Tempting in your face, but you’re just a beast. Strawberry cakes, she ate ten tons of them, But I prefer my toast, just full of jam. Glitter and sprinkles, you want me to get plump, But I’m not your Barbie, I’ll sweep you to dump.