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Yeah I may sound arrogant, but during composing my pieces especially with the String Sextet(my best piece ever), I did think of myself, my friend, and also us as 2 members of the whole mankind and how my own ego fits with others, and how can I express and excavate myself in order to express mankind and Tao. I never think I claim music because my inspiration comes everywhere. Another "narcissistic" approach is I always listen to my music daily for composing coherently. Only by getting to know my music so much I can generate inspiration that is free and refreshing but at the same time reasonable and coherent. Henry

I think this is a refreshing perspective on the potential positive aspects of this tendency of narcissism, in the specific context of music composition, with regard to my above response (dk why cant put this quote there but whatever). And especially here, I like how you expanded this idea to say it is not just that it can be positive for self development and composition, but can be a pre-requisite even, which removes the guilt of being narcissistic, as long as one strive for something bigger beyond oneself then, by viewing oneself as a vessel for something larger, narcissism is selfless, not selfish, or maybe at this point the specific words don't matter anymore, since the two are kind of one and the binary does not matter or exist anymore even.

I think as long as it does not make you discriminate other people such that one would harm them, at least narcissism is not that destructive. That said, just only hearing your own music has the risk of being in ones echo chamber. Even if one gets objectively better and like to - and thus - hear more of ones music, which is nothing wrong, it would still be great to listen to other's people good stuff to enrich oneself. I think the term narcissism can be quite subjective, nothing wrong in itself though at times, it can be helpful to use more specific terms or like"X type of narcissism" to describe some behaviours or attitudes.

lol, like Eric Satie's Vexations? but on a more serious note, I do like this piece, it is so classical yet so catchy and fun, something I would like to play, especially if forced to choose a classical piece that are not the ones I like , the boring ones. Also, this is generally suited for children and beginners to play, maybe at a slower tempo. One issue might be that it looks quite easily to trip off when playing in a fast tempo.

Continuing from this threads in reddit and here - https://www.youngcomposers.com/t47262/inquiry-for-parts-of-a-piecepiece-without-a-clear-tonal-centre-how-do-we-put-accidentals/#comment-1186752923 - where I asked for notation advice for my score and integrated them in my edits (thanks again to those who advised me), I would now like to ask how might I actually make this piece more of a Scherzo (whether its the conventional matrices of 3 time, ABA structure, more parts with playful/satiric parts, or beyond these) using the themes/motifs I already have or should I make new ones? https://musescore.com/user/62605720/scores/25131706 https://www.youtube.com/watch?v=O29_xr6AwbA This is because while I find there is contrasts as "touching/happy" parts and more allegro parts and quite some parts in 3 time, but they are (1) not really fun/playful (2) not really satirical (3) not really majority 3 time, I know a scherzo doesn't really need all parts as such but still... Imposter syndrome here, and my main title and initial for the piece is a Prelude, not Scherzo, though in the process I felt like I want a Scherzo (story can be found in my YT/Musescore). Some forms are more flexible than others, especially because people have broken the rules much and overtime. Scherzo seems to be a form which inherently is more flexible and encourage people to go beyond? Correct me if I am wrong. How flexible do you think the Scherzo form is compared to others?

Operetta Theatre (Latvia) and Marina Zirdzina's Family announces FIRST MARINA ZIRDZINA INTERNATIONAL VOCAL COMPETITION in the following categories: operetta, musical theatre, opera, solo and duet. Marina Zirdzina International Vocal Competition is created to highlight the cultural heritage of Latvian musical theatre, to highlight the diversity of operetta and musical theatre genres and to inspire young singers to develop their talent, artistic and vocal skills. It will celebrate the brilliant personality of the operetta diva Marina Zirdzina, bringing to life her characteristic artistic and professional qualities. Young vocalists of age 18 - 35 from all over the world are invited to participate. Competition will be held in two rounds and will be judged by an international jury: Deividas Staponkus (Lithuania), Heli Veskus (Estonia), Sonora Vaice (Latvia), Gregory Buchalter (USA). To take part in the competition, the participant must send a video recording and to complete and submit an application by May 31, 2025. Round 1 will be held entirely on-line. In the Round 2 on August 12, 2025 competitors will perform in person with Symphony Orchestra of the Operetta Theatre (Latvia) conducted by Gregory Buchalter (The Metropolitan Opera, USA) in the Great Hall of the Jazeps Vitols Latvian Academy of Music in Riga. Valuable prizes for approximately € 8,000.00 in total. More details https://www.vocalcompetition.lv and https://www.facebook.com/MarinaZirdzinaInternationalVocalCompetition or https://www.facebook.com/OperetesTeatris Contact us to vocalcompetition@operetesteatris.lv +371 25123145 Organized by Operetta Theatre in collaboration with Jazeps Vitols Latvian Academy of Music and BAFF (Baltic -Americam Freedom Foundation)

Thanks for reminding me about Schubert!

Updated version of the score here: https://musescore.com/user/62605720/scores/25131706 Most of the changes were done using the feedbacks fr reddit but thanks for the additional feedback here too, the score is now much easier to read, more intuitive and makes way more sense. haha : )

Some people have also suggested this and I have changed measures 35-39 to Cb Major (not very used to Cb Maj haha). I have also made other changes elsewhere, like to (suggested by you), also suggested by others (in reddit) "to specify the key signature" on the basis of more practical reasons like score readability.

Noted

Yea, this^ seems to be the consensus and what I observed as for this opinions (from reddit, where I also asked) seems more diverse, but thks for the input!

Hello! Thank you for your very detailed feedback, I appreciate you taking the time to listen even though you normally listen to a little something else! A lot of your suggestions are interesting and I will definitely consider putting them into practice. My music, as I wrote, breaks from the classical form, is full of irregularity and deliberate inconsistency, yet can be simple at times. I draw inspiration from many directions, including jazz, Czech folk music and others, each of which influences the music in a different way. The simplicity of traditional music, the wildness of jazz: they combine to create something very strange and, at first glance, perhaps confusing, out of tune. One has to get used to it first, because the first listening seems different from what one usually hears, even from contemporary modernism. Anyway, I'll certainly consider a lot of the things you've written, as they contain ideas about how to perhaps get more in touch with a wider listening audience. Thanks for that!

I'm not sure I get what you are referring to?

Hey there, Petr First of all, you're a wonderfully skilled composer. Your dissonant language has a lot of beauty in it to me, I'd be very curious to peek at the score! Could you post, or maybe for future youtube videos you have score videos? Regardless, I'm fascinated by the language you write with, as it's very different from mine (I'd love to learn 😄). Each of the five pieces in my opinion shows a skilled writer capable of writing for both instruments well. Perhaps you could have explored more technique, especially with the violin? With a more modern language, I expected more extended technique. Maybe I'm just used to that context? Even some pizzicato sections or slides would suffice to my ears. I enjoyed the music, I'm just thinking out loud after listening. Your samples sound good, but maybe the piano is a bit too wet sounding? Dunno, I'm not the best with all that. I guess maybe lower the reverb, or if using a DAW, make the reverb more dry. Again, that's probably subjective. As beautiful and intricate your writing is, you mentioned this: Yeah, perhaps, but I think you could have explored more. To me, this sounds like you wrote these fairly quickly one after another, and in turn they have a sameness of quality to them. For instance, aside from maybe the third piece (which is my favorite), you for the most part have the violin and piano constantly playing without rest. Also, to me, they don't always play harmoniously together. It's almost like a mismatch, where each one is playing something separate but they don't necessarily align with each other. They "fit", but without phrasing, it sounds like two people talking at the same time without each one listening to each other. With five pieces in the set, maybe one could of had the violin mostly pizz and light, or one could have the piano be mostly jaunty and choppy in the upper register. Know what I mean? For me, having different character implies different approaches to what the instruments are saying. Characteristic rhythms, or recognizable motifs, or more drastic differences in tempo, form, length, or range could be really beneficial. I'm not sure your overall purpose, as it sounds like you wanted something lighter on the noggin to write after a large piece, but if they're published as a set I would really plan more in advance as to how each of their characters differ. Keep in mind, we probably listen to vastly different types of music, and this is only from my point of view. I'm not sure about a lot of modern concert music pieces, I don't listen to them that much. Maybe what and how you're writing is in tandem with the trends of today, I wouldn't know. But from what I've learned, there are some techniques and theories of composition that transcend language. Wonderful phrasing and an array of textures go a long way in keeping your music engaging and interesting, and hopefully some of my thoughts help for the future. Love the music, thanks for sharing!

A religious motet I began writing this afternoon and have finished composing in under five hours. I didn't initially think of the text when I first started, as is usually customary for me, but instead found the rhythms suitable for the text afterwards, and as such, took it from the passage of the Vulgate where the crucifixion of Christ under the connivence of Pontius Pilatus is mentioned, and then added a a reference to His resurrection at the end. Admittedly, this motet would have been more suitable for Late Easter, but alas, I guess only now have I managed to compose anything of the sort. Enjoy! YouTube video link:

Hello my dear friends, I wish you all the best! After the exhausting composition of the string quartet, I decided to take a little rest and create five short pieces for violin and piano. Each one has a slightly different character, so hopefully you will like at least one of them 😅 I am attaching a link to the playlist: https://youtube.com/playlist?list=PLkdhDBNsadAFcrUSvZ0IJecryMQIa8iF8&si=jkL63F2p1dLcfglt

I think it is very beautiful music and, in my ignorance, it does transport you to that special atmosphere.

For years, Those who relied on finale or Sibelus used either Garratian or Sib sounds. Both were decent sound set. No question there. Then came along Noteperfomer. This was game changer for us. It could music in new way that we never seen before. After v3, they brought VST3 plug ins to us. And yes, some where still ram and cpu heavy. This came with tech. (A large size libary with mic positions and full articulations will require more space and ram vs one that doesn't). They realize this, and thought it would be more accesible if instruments were pre loaded Alas, this idea was great. Some thought it was not. (looking at you VSTi companies). These same people align themselvs with muse score. and are selling a cheaper version there. *ugh* This. is. not. how. you. compete.

Hi all. Just wanted to share this experimental composition I made some time ago in GarageBand. Was trying to get away from any idea of structure or form, and make something that sounds quite random. It does have an ostinato, to give the listener something to latch onto; but is otherwise very free. It's probably garbage, but I thought I'd post it anyway.

Hey these are great! It's a bit dissonant and difficult for children imo, but like mentioned, intermediate kids or adults could benefit. I've always thought that if I were ever a composition teacher, this would be something that I would have people write. It's cool to tone your style and writing down to it's more bare bones, and I think it's wonderful to explore. You should write more of these! Nice job at making them all different. The third was my favorite, but I enjoyed them all. Well done!

Just finish watching Princess Mononoke, another fuxxing great film from Miyazaki. The soundtrack again by Joe Hisaishi, is again fuxxing great… Maybe this one sounds like FF soundtrack, idk!

Hey there I really like this! It reminds me of Mario 3 for some reason 😄 I like the catchy ideas with rhythm and melody, but it sounds like this is the start to something rather than being a completed piece. You have cool ideas over the static 5/4, but I think the music was ready to move on harmonically. I would explore your rhythm on the V chord (A) or somewhere else and see where that leads your melody writing. You've also set yourself up with some motivic elements, as your theme could be expanded and tweaked. Great start, I'd love to see where this piece goes if you decide to elaborate your ideas. Well done!

Yes, I am a percussionist Anyways, this piece is not really as programmatic as my other pieces, but it follows the idea that the first movement starts as an initial idea for battle 2nd movement starts as a planning phase. The 3rd movement is a waltz for the dynasty. (the opposite side of the revolt.) and finally, the fourth movement is kind of a March into war

Are you a percussionist? Great percussion effects! A very interesting work ... although the motifs are recurrent - I didn't find it repetitive at all. The work's driving nature swept me along. You mentioned program notes ... I didn't see any on the link. I feel a narrative of the struggle in this "revolt" should accompany the composition ... as it is a programmatic work. Did you imagine different sections reflecting different actions? Mark

The 3rd movement of my Violin Sonata which I will publish lol