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I looked at the score. My advice regarding symphonies would be first master traitional symphonies ideally with traditional orchestra (a whole lot smaller orchestra) in the cannon style of classical or late romantic style before even attempting experimental or innovativ music. How can you invovate without a good foundation of the tradition? Brahms spend 21 years on his first symphony and beethoven so i heard spend from sketching to full orchestra 30 years on his symphony no 9. A symphony is not something you should be doing lightly. I don't say this to be rude but just to give some perspective on the symphony. If you comfortablely can craft a symphony that stand along side Beethoven for example or at least immitate the form style and orchestration then and only then I would say you should try something like this. Also how are you going to get this performed in the future with a orchestra so large? Compose for the musicians not the computer. I would also recomend sketching on a single staff or piano sketch. This is to make something more idiomatic and playable. Only after the whole piano sketch is complete then orchestrate.

Hi Henry! The microtones are only sort of marked in passing and occasionally on the score as I wrote the score for the player. The tuning of the guitar string is what gives the microtonality to the score, so in an effort to not overcomplicate the score I tried to show them as little as possible. As the subtitle says, the G-string is tuned 20 cents high and the B-string 10 cents low. I could also write an analysis score in which all the microtones are visible, but I felt like player-wise this solution felt more organic. But tell me if you disagree, I don't fully know if I made the right decision😅. And indeed initially it was improvisatory but I sometimes do this thing where I first improvise and then try to repeat my improvisation 6-10 times. After a while I land at something, and this is where I landed yesterday :D. Thanks for the kind words and the review ❤️

Those are very kind words coming from such a skilled composer as you! I guess I was just in the proverbial zone when I wrote this. Usually I'm much slower, though that often has to do with me getting distracted or losing interest in a project only to return to it later. With this concerto, I managed to stay very focused and worked on it nearly every day.

I can see why you struggled though, the motif is not the easiest. But this is one of your best exercises so far in my opinion, because it encouraged out of the box thinking for this one.

Another Persichetti prompted piano piece! I struggled with this one the most thus far. The prompt was: "6. Continue the following idea for piano." Thanks for listening and I'd appreciate any of your comments!

I am immensely envy of you for this; how can you write this Concerto with this quick progress and bear such a sweet fruit?! I have never been able to do that! Either I take too much time, or I write trash!

This is quite nice. I like Persichetti's book but I've never done the exercises in it; you're making me kind of want to give them a try, though!

Thanks very much! The Hummel concerto (as well as the Haydn) was very much in my mind when I was writing this. It took me a little over a month to compose this; I think I started it in early November and finished mid-December. I have no contacts at all in the music world, so no, I'm afraid there's no way this would ever be performed.

Oh I must have overlooked them! I am getting old now......

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