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I absolutely love this! Very charming, and you bring out the instruments really well. The dynamics, rhythm + microtones make this a fun and eerie melody to listen to.

This is the fourth and final movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark (lately Archie) @expert21. This movement is in Variation form which is my first attempt on the form in a movement, though I already use quite some variations techniques in my old pieces. I choose the form because rather than another narrative sonata form movement, a variation movement exploring the possiblities of the ARJUNA motive is much more appropriate for me. Again, thx to @Thatguy v2.0 for making the audio. I try for some strict procedure in each of the variation, as I use Prime and Inversion form of the ARJUNA motive for the 1st half of a variation, then Retrograde, Retrograde-Inversion and Prime form of the ARJUNA motive for the 2nd half of a variation. Even though the motive itself is short and easy enough to achieve this kind of treatment, still I wanna use them for coherence. Because of this, this one is probably the hardest movement in this Sonata to write with. Here is the YT video and pdf scores of the movement: Violin Sonata in B-flat major 4th mov.pdf Here is the structure of the movement: 0:00 Thema: Allegretto Commodo. A rather simple and easy-going theme for later variations. 1:16 Variation I: Allegretto con moto: A funny variation. Introduces G-flat major for the 1st time in the movement. In the second half, each two bar phrase is the retrograde of the two bar phrase corresonding to the first half, e.g. b.26-27 correspond to b.17-18. 2:13 Variation II: Allegro con energico. A variation heavily inspired by the 2nd movement of Beethoven's Razumovsky Quartet no.1, which is also in the same key. End of the 1st part and begins 2nd part with variations begins in different keys. 3:03 Variation III: Andante Comtemplativo. A variation begins in D major and makes chordal usage of the ARJUNA motive. Briefly reintroduces the 2nd movement theme in 4:04. Ends with a dark transition to C sharp minor. 5:08 Variation IV: Adagio Doloroso. A variation begins in C sharp minor. I make use of the Beethoven op.135 theme again as in the 3rd movement, but this time in minor mode and all sorts of dissonances, since it reflects the dark mood I was having then. The use of ARJUNA motive is saturated here; I even use all four forms of the motive together in b.110. Ends in Picardy third and modulates to the next variation. 6:44 Variation V: Andantino con moto e tranquillo. A variation begins in G-flat major and modulates through D major before returning to tonic B-flat major. I quote a lot of pentatonics and quartals here to show the influence of my String Sextet. 8:10 Variation VI: Fugato e Coda: Allegro Vivace, con brio e energico. Even though it 's a cliche to end a variation in a fugato, I still use it here nonetheless. The fugue subject makes use of the prime and inversion form of ARJUNA motive, while the countersubject the retrograde and inversion of the motive. The episodes also make use of the motives too. I even quoted my Clarinet Quintet main theme in 8:47. Waltz rhythm gradually returns and polyphonic texture changed to a homophonic one, just like the ending of Beethoven's op.110 Sonata. More affirmations of the ARJUNA motive comes and ends the music in a high energetic way. I quite enjoy the ending not to lie. Thx for listening and hopefully you will leave some comments here! Henry P.S. Here are the previous movements posted on YC forum: 1st Mov: 2nd Mov: 3rd Mov:

Ah interesting. I mentioned the lumatone since their performers might be looking for new music from current composers... it would be cool if someone performed or recorded for you! Couldn't hurt to market it for a wider audience and all

Ah fair enough. I'm nowhere close to a historical composer such as yourself, so it's always interesting to hear the finer points of the styles, of which I'm usually unfamiliar with. I noticed you have more music here, I can't remember if I've checked any of it out but I'll dig around 🙂

Thanks! The thing is that the piece plays 2 times, one wich just the crumhorns and then the tutti. It was very common to do that in early suites like Banchetto Musicale from Schein. Or any other dance ment to be played in concertato manner (many instruments).

Heyo! Here are the first two choral pieces I’ve finished enough for feedback. I would love to hear what you enjoy about the pieces, then give any tips about what you think is high quality and how to fix anything that’s lower quality. My main desires are for feedback on the overall feel of the pieces, like the fittingness of the choral parts or the piano. I’ve never written for either before professionally, and these are kind of the test to see if I have potential to create choral music directors would actually purchase. Are these close to professional quality? If not, what could I change? The goal was to write semi-simple pieces that your average or slightly above average church choir could sing as a Motet or “Anthem” or a choir-only piece during a service. I enjoy purer, diatonic harmonies more, as well as an epic feel at times, so hopefully those come through. Thanks in advance for any comments you’re willing to give:) The Assumption: https://youtu.be/u_uR3quvWiA Come Holy Spirit Pt. 1: https://youtu.be/CTrRiL_wY_Q

Afaik a lumatone is mostly used as a midi controller (even though I think it has its own built-in sound also). There is no synth sound that I would prefer to piano that wouldn't just function as a substitute for a string ensemble. Maybe I could just write for a solo instrument with string orchestra? With this piece, I conceived of it as a piece for solo monophonic (acoustic) instrument and accompanying polyphonic (acoustic) instrument, kinda like for the Dreamscapes competition. You're welcome! I'm glad you're benefitting from it! I'm actually using microtones very lightly in this. I use some microtonal passing and neighboring tones in addition to sub-minor 3rds and sub-minor 7ths. But I definitely consider this a microtonal-lite style in that it's both easy to apply and not that complex to understand. Thanks for your reply!

Nice! I really wanna try to write more accessible music and I think this one is a good try! Yeah an advertisement on what I’m writing!

Yeah that’s the same Arjuna motive throughout! And there will be the final movement which I post today!

Very interesting stuff, Luis, I'm sorry I'm late to the party to comment! This sort of exploration is exactly the sort of thing that composition software is good for. Means you don't have to retune a whole piano to find out what it would sound like. An excellent use of modern resources to imagine ancient sounds! The introduction is beautiful and a little unnerving, and the section that begins around measure 25 is just a strange but confident loveliness. What an interesting sound world you have brought us to!

Are you happy with the microtonal piano sounds? I wonder if using some sort of E-piano or synth would give your pieces something different to offer, as you could mimic a lumatone or whatever else is out there. I know there are microtonal harpsichords and pianos, but they're so unpractical. I just checked fiverr and no one offers lumatone lol. Dang. I'm just brainstorming because you clearly have so much interest in microtonal music, I'm just trying to think of other outlets available. I've kind of vicariously lived through your microtonal studies, silently judging what I like and dislike about it's uses for my own music, so thank you for that haha 😄 The music overall felt comical and maybe slightly cheesy, but I think that's just the nature of using so many microtones within your harmonic context. That's not to say I didn't like it, it was fun 🙂 Nice job Peter, looking forward to hearing more ...or maybe something big you have brewing in the works...

Emily in Cordoba - Short Movie main theme. Now on Fetchflix Emily’s exciting career at « Candeur Advertising » brought her in Cordoba. As usual she takes selfies everywhere anytime all over the place. After the visit of Córdoba’s Mosque-Cathedral she looked at the selfies she’s been taken and found that one of the selfy she probably mistakenly took was her face but made of wood. The choir stalls where her face was pictured is located across from the altar, which was crafted during the 18th century and were executed by Pedro Duque Cornejo. Could it be that Emily’s ancestors were Spanish? “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Syrel, Córdoba Mosque-Cathedral, 2024 Musical notes: I am not sure if the inspiration comes from the great Al di Meola or Sergio Mendes & Brazil 66. Nevertheless, enjoy the short ride.

This music makes me ye olde happy, thanks for sharing! I love when the rest of the instruments come in about halfway through... for me you could shave off a bunch before that and treat it like an intro 🙂

The first one cannot be heard. The second one sounds good and fluid, with very clean changes in tonality to the dominant and back.

I would sell the manuscript of the string quartet for some pot and a couple bottles of Sherry!

Well, the STRING quartet was 2009.

An hour or so at a time, or I get addicted! And they still haven't played the song I want to arrange!

Le minutieux et très économe Monsieur Radin English translation below: Nouveau film de Fetchflix sur vos écrans bientôt Synopsis du film: Justin Radin, comptable de formation et responsable des plans d’affaires pour l’entreprise Bidouille & fils, était spécialiste des coûts de fabrication et d’assemblage. Tout était calculé au centime près et les achats étaient optimisés à la perfection en plus d’être minimisés. Mais voilà, ses nouveaux patrons, des milléniaux nées avec un iPhone 18 Pro Super Max dans leurs mains et accros des réseaux sociaux comme Swiffer, Analphabet et FakeBook lui ont montré la direction de la retraite « BIEN MÉRITÉE » disaient-ils. Disons plutôt un bel exemple d’âgisme. Justin Radin a économisé toute sa vie pour ses vieux jours, mais n’était pas prêt à profiter de sa retraite en plus de ne plus savoir comment dépenser et se faire plaisir. Heureusement, il fait la rencontre de la très charmante et dépensière Mercedes, qui de toute évidence changera sa vie. « Cette histoire est une œuvre de fiction. Toute ressemblance avec des personnes réelles, vivantes ou décédées, ou avec des événements réels, serait purement fortuite. Et pour ceux qui ne l'auraient pas compris, Fetchflix TV est également une fiction. » Musique : Syrel Photographie : Meta AI New Fetchflix movie coming soon Film synopsis: Justin Radin, an accountant by training and responsible for business plans for the company Bidouille & fils, was a specialist in manufacturing and assembly costs. Everything was calculated to the nearest cent and purchases were perfectly optimized in addition to being minimized. But there you have it, his new bosses, millennials born with an iPhone 18 Pro Super Max in their hands and addicted to social networks like Swiffer, Analphabet and FakeBook showed him the direction of “WELL-DESERVED” retirement, they said. Let’s rather call it a fine example of ageism. Justin Radin saved his entire life for his old age, but was not ready to enjoy his retirement, in addition to no longer knowing how to spend and treat himself. Fortunately, he meets the very charming and spendthrift Constance, who will clearly change his life. “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Meta AI

I think the hare (zayats) and wolf (volk) are secret gay lovers! One moment, the wolf wants to eat the hare, and the next moment, they are dancing romantically!

The Wrongware Factory - Short Movie main theme. Now on Fetchflix In order to make new friends, the new president of a small and idiocratic country decided to create a new agency called the Government Office of Optimized Failure, the GOOF, which is staffed by a bunch of 12 years old kids having the title of Government Office Overpaid Fools, the GOOFys and headed by an asparagus grower, who thinks he’s a genius. The GOOF is some kind of factory helping the government to creates chaos and uncertainties within the government until it implodes for the benefits of the plutocrats. Guess who will survive? “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Meta AI Musical notes: The wonderful main theme composed by Theodore Shapiro for Severence was somewhat my source of inspiration. I wanted my theme dystopic, simple and complex at the same time.

Nu, zayats, nu, nu pogodi! Means well, hare, well, well, you just wait!

Who Cooked the Cat ? - Short Movie main theme. Now on Fetchflix Bill, Bob, Barry, and Beth are roommates, and once a week, on Saturday, they cook themselves a feast with a special meat. This week, they planned to prepare a rabbit meal. However, the disappearance of Furrball McFluff, their cat, went unnoticed—until a serious unease arose within the cooking team. So... who cooked the cat? “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Syrel, Book Cover 1987 Musical notes: Yes I kind of borrowed a part of the main theme of Voyage to the bottom of the sea by Paul Sawtell but I also twisted it sooooo much.

The Pepperman - Short Movie main theme. Now on Fetchflix Fred likes it spicy. He has been married so many times to hot women that he can only be looking for more. For his last bride, he decided to go all-in and get pepper wedding rings, which earned him the nickname "The Pepperman". Let’s hope his marriage doesn’t end up in flames. “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel
 Photography: Syrel, Venice 2019 Musical notes: Got the idea from a Dianna Krall song opening but can’t remember which one. She is proudly Canadian by the way.

Watching it this lovely morning, like a malenkey Russkii malchik! They haven't played the song yet.

Hi @PeterthePapercomPoser Thank you for the comment! I hope this work is not too complicated and bitter to you. Yes, my music is usually highly thematic and is usually evolving. This way of writing give me a balance (which I hope to achieve) where coherence between different passages while constantly giving changes/ energy to the music like a living creature - instead of very structured development. It really does. After all those dramas, I just want some "peace" to settle the piece, and prepare the audience to the next movement. Another technical considerations is that, I realize there might be frequent pedal changes to play the written chords, but I don't want 2 harps to play there. So I wrote the passage in a minimal way. Yes, Dorico with NotePerformer. Any good suggestion to avoid that issue lol