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Thank you very much! Yes, this score really does have many colors and is only for analytical purposes. But it makes it clearer (especially for me) where the subject entries are, where inversions, augmentations, diminutions etc. occur. Interestingly, I don't usually highlight the countersubject, except in this fugue. And while writing the above explanations, I activated these additional color highlights and noticed that there was a recurring countersubject even used in inversion and for the episode material (which I had already forgotten in the last four years) ... The post with the second part (linked above) contains the “normal” black-and-white score of the entire fugue, which I also prefer to play from.

Thanks for listening! I was inspired by Bachs arias along with French Impressionism. There’s something I find so meaningful to a Bach aria, whether it be the strong and determined bass or the complex chord structure of the high clarion/flute feature. As for the French Impressionism, I am fond of Ravels La Lavse which I first pictured as an organ symphony. This lead me to picture permafrost, a desolate hunk of ice and sediment. Lmk if u have any other questions or thoughts! I plan on sharing the audio/score soon.

Jurassic Park Theme Cover Such a Simple Melody, and yet so Famous. Jurassic Park Theme Cover.mp3

I enjoyed your work .... would you say this is in a "minimalist style"? It would be very helpful to post the score with the recording. Mark

Good catches on the wrong bass tones, I think maybe I labeled them and then changed the notes after. Regarding the last chord, what I was hearing was more a dominant, as a kind of deceptive cadence back into a climb. Set up the phrase to resolve and then instead of resolving, go back into tension.

Hello and welcome back @johannhowitzer! I know you're not going to revise these but, in that first fragment, isn't the penultimate chord an Abmaj7/Db? And speaking of which, the chord before that is labelled as an Fsus2/D but I see an Ab and an Eb in the bass. I personally would find a Cmaj/F chord satisfactory for the last chord. Thanks for sharing!

A+ for presentation, something I lack around here. I love how detailed your score was, and that you posted multiple versions to appease any taste in reading along. I preferred the color coding, as I'll admit I got lost in the thick of dissonance trying to find synergy with the theme, but your score made it very clear and more enjoyable for me. I was really intrigued by the chromaticism and dissonance. It sounded too harsh at times, but the more I listened I got used to the language and texture and it flowed really well for me. Forgive my ignorance, but I've never really been into fugues. I don't know/forget all the intricacies involved, but your ledger of HOW you wrote it was very helpful and dare I say educational for me. The amount of effort you put into detailing your music was enlightening as well as lovely to hear. Thanks for posting this, as well as being involved in the forum! I can't speak for everyone, but the music I post here is barely heard by the people around me, and a community that is aligned with my passion AND that I get to help grow has a special place in my heart. It's people like you that help keep YC alive 🙂 Cheers friend, well done

Just playing around 🙂 Glad there's interest in the badges, I forget about them 😄

yeah, but once you confer with the pianist you'll be able to make necessary edits if need be. It does seem pretty difficult, but I'm curious how it turns out 🙂

I like the idea of logging your progress, it'll help you and probably teach others. Welcome back!

Hey y’all! I’m nathan and here’s a bit about me for u guys to have more insight for my organ piece to u. I’m a 14 year old composer living in Philly in PYOMI and I’ve had the pleasure of working with some dear composers and finding out more about the organ through organists and the AGO conference in NYC. I hope you’ll stick around to listen to my piece, as I love sharing with everyone. Hope everything goes well for uuuu 😉 https://drive.google.com/file/d/1r7_C0-58hUB1GVor1YU8SKCfQVdWnclL/view?usp=drivesdk

Hello @mossy84! Thank you for your advice not to end a fugue subject on the tonic. (And this is, in fact, a good advice which avoids that the subject sounds „too finished“ and there is not enough momentum for the next voice entries.) But in this particular case, I violated this „rule“ - albeit rather unconsciously – in order to follow the rules for crafting a fugue subject in the style of Palestrina, especially having only one „leap“ in the opening fifth which is immediately followed by stepwise motion in the opposite direction. And I wanted to have a Brevis note in the subject to highlight its „renaissance“ character in the score visually. 🙂 However, I must admit that there is a kind of „rest“ in bar 4 where the subject comes home to its tonic key G flat for an entire Brevis – but that’s intentional and emphasized by the „messa di voce“ (which is challenging to be played on the piano at all... 😃). By the way, looking into another of my fugues with a similar, short subject (here is a YouTube link, I haven’t presented it in the YCForum yet), I noticed that I exactly did what you suggested, I started the answer a beat earlier, creating a kind of „stretto“ even in the exposition.

This is my "Piano Stream No. 5", composed in August last year. In 2013, 'Stream' was the name I had found would best describe pieces of mine composed in a style that ‎seems to me to recreate the unique experience of watching a stream in nature. It is a type ‎of fluid music, a type of music where the texture is always changing and is never the ‎same, that does not have an identifiable rhythmic pulse, that is in constant, ever changing ‎flux. A 'stream' is a rather happy, relaxed, spontaneous, and flowing piece. It is often in ‎variational form. A stream is more about creating a certain impression, rather than ‎introducing and/or developing specific themes. This fifth piano stream of mine is also my twentieth composition in the 'stream' form. With my previous stream (String Quartet Stream No. 3, Op. 288) composed all the way back on December 26, 2016, this stream marks my return to the form after a break of more than 8.5 years.

It's been a long time! I used to frequent this forum in my 20s, now I'm 42 years old, living abroad, haven't really written any music in the last decade, but I never fully gave up on writing music. It's time to fix my writer's block. I'm setting up this topic as a challenge to myself. Writing music in my 20s was something that came very slowly and painfully as I am a massive perfectionist and not terribly disciplined. So this plan is designed to cure me of that. - Only writing fragments for now. No aiming for completed pieces. - Focusing on practicing use of musical elements I like, experimentation over destination. - Loosely tracking my time in order to force something out the door, rather than get stuck on revisions. - Long term learning goal is to build the skills to write hybrid electronic/orchestral music for games. If anyone wants to take on this challenge with me, feel free, and you are welcome to post things here. For my part, the pacing is starting at one small post per week. As I feel able, I may increase that. Music will be hosted on flat.io and eventually Soundcloud, and linked here by Sunday evening USA-Eastern time, which is Monday morning my time. Feedback is welcomed, but I will be trying to take feedback lightly and focus on quantity of music creation, on volume, rather than refining the quality. First entry: https://flat.io/score/69930d12f4b7f4206442ca2c-sus-slash?sharingKey=4f68cd0e43730c91e48416b8978810ab0c63680a3161fb07fbfcbc75e85c135b02a6f15102ff10978621f147508f16a2ade8791783c86664bb7ed9f0e3b671f9 https://www.youtube.com/watch?v=14lZ2g_oCxI For this eight-bar melody, I chose the musical element described in the above youtube video - suspended chords above a slash bass note, essentially sparsely voiced tall chords. I wasn't following any particular progression principles, just whatever sounded good, but trying to follow the structure of the chords described in the video. Couldn't quite nail down the last chord, sorry it's unsatisfying, but according to the rules we are moving on!

The intro really captures the exact vibe you're going for — I’m excited to see how you continue to explore these effects. At 1:30, the melody is spot on. I just wish it stood out a bit more and cut through the background more clearly. Around 2:30, I felt like it might have been stronger to further develop the 1:30 melody instead of introducing a completely new one. You used sound changes in the melody very effectively — it adds depth and rich layering, especially when the parts overlap.

I put together this arrangement of Bright Morning Stars in 2015, but just made a new score demo video for it. Enjoy! Bright morning stars are rising, and day is breaking in my soul. Where are our dear mothers? They're down in the valley a' praying, and day is breaking in my soul. Where are our dear fathers? They've gone up to heaven a' shouting! And day is breaking in my soul!

I’m trying to improve at improvising, I feel like currently I repeat the same ideas too much. I’d appreciate any feedback.

Imperial Rome The Fall of the Roman Empire, I wonder which Country is Next ? Imperial Rome.mp3

Hi all 🙂 As a new born violonist (started the instrument in october 2024), I thought I would give it a chance at composing a concerto for violin and orchestra with my humble technical skills knowledge (far from pushing the instrument to its limits 😉). Here it is. Three movements : allegro moderato / lento / allegro. There are various themes inside, main ones being : Theme 1 : enunciated straight at the opening (bars 1-4), it's developed further by various sections as well as by the soloist under several forms, Theme 2 : appears first bars 219 to 225 at the end of the first movement, then in second and third movements under several forms Theme 3 : bars 31 to 71 in second movement, then reappears in the conclusion of the concerto at the end of the third movement. Other leitmotivs (don't know if it's the appropriate term) emerge throughout the piece. The third movement is an allegro but strongly slows down at the end for a quiet, peacefull, opened ending mainly reusing colors from the second lento movement. In the attached pdf score : Allegro moderato : page 1 Lento : page 69 Allegro : page 102 Here's the video (let me know if it's better that I attach MP3s) : 0:00 : Allegro moderato 8:32 : Lento 15:57 : Allegro (timeline also in the description of the video) Best regards 🙂 Marc

Hello, friends! How are you doing? I am happy to present my latest composition to you. This one is more challenging to listen to, full of contrasts and wildness that are typical for me, even though I try to incorporate a certain system into my music, which may not be obvious at first listen. Thank you to everyone who decides to support me by listening, and I wish you every success in your creative endeavors!

The Birth of Inspiration A Burst of Creative artistic endeavors, without thinking. The Birth of Inspiration.mp3

Thankyou Peter, im very happy to see your review of my composition. heterophonic texture !!! wow i had to look that one up. Thankyou once again for making my day a Happy one, There's another Composition waiting , but not in a waltz style I dont know if that one also has a heterophonic texture ? , ill have to analyze that word in depth, Thankyou.

Hi. You are welcome! Oh! Now it makes more sense. 🙂 you too!

Hello On this occasion, and to increase my skills with regard to brass instruments, I have orchestrated a song by Mendelssohn, Op. 19 No. 3 (Hunting Song), originally for solo piano. The ensemble consists of four French horns, two trumpets, two trombones, and one tuba. I had to improvise to resolve some passages where the registers were very high, but it is not a literal copy, rather a version with certain liberties taken. I have respected the original key (A major, which is not bad for brass). But another might have been better, such as B flat major (but some notes were too high for me). Everything is untransposed and in separate systems (I am working on condensing it with the programme, but it's a bit of a nightmare...).

Another musical quote from "The Occult" by Colin Wilson. Let me know if you agree or disagree! And if you've gotten this far - thanks for reading!