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@TristanTheTristan It's interesting that you would mention the influence of Prokefiev and Rachmaninoff on this one. It's certainly there with this one, but I don't feel like it shines through quite like it usually does--I take a lot of inspiration from the late 19th and early 20th century composers for most of my work, especially the Russian ones (I <3 Stravinsky).

Hi, TristanTheTristan, This music is enjoyable. It seems tough to play on the piano, but the rhythmic feel of the arpeggios is great. Personally, though, I felt the ending after 1:06 wasn't really necessary. It might feel more natural for a miniature if the arpeggios just slowed down to a smooth close. Overall, it’s a nice arpeggio miniature Best, Lithl.

Without a score - Then the reader has no way of knowing how you approached and composed the works. It could be a cut and paste job. Mark

Coming back here, so much nostalgia!

1: "The sound tracks seem to be attached to a specific period ... television shows/movies from the late 1960's and 1970's." That is Correct ✔️ 2: "In both works the musical themes seem too familiar and a bit unoriginal." That is Incorrect ❌ 3: "Are these piece mixes of other period works?" That is Incorrect ❌ 4: "Why not post the scores?" Not Necessary ❓

This is a nice piece of music! You have included some prokofiev and rachmaninoff essence, especially in the development section. It is sad that you have used a electrical sound, which in my opinion, makes a sound a bit worse. Your opening theme is innovative and smart, seeing the idea of I,I, V. This allows it to feel even more like a waltz somehow. Some advice I give everyone when composing, is to try not to use specific numbers, especially not the ones not on a standard metronome. Instead, what I like to do is to use italian phrases such as Allegro or Presto. The final chord should be arpeggiated. In conclusion, it is a good start. TristanTheTristan

The sound tracks seem to be attached to a specific period ... television shows/movies from the late 1960's and 1970's. In both works the musical themes seem too familiar and a bit unoriginal. Are these piece mixes of other period works? Why not post the scores? Mark

DESTINY UNKNOWN© | by V.I.P.EXCLUSIVE™ "Based on a true story" DESTINY UNKNOWN by V.I.P. EXCLUSIVE.mp3

how about this?

we shall see >:)

SINCERELY YOURS© + SUMMER WALTZ© | By: MAVELL-LIVE 24:7™ SINCERELY YOURS by Mavell.mp3 SUMMER WALTZ by Mavell.mp3

I always like this song by him! It's used in Wong Kar Wai's In the Mood for Love. Henry

Thankyou Kyle Regarding YOUR future compositions ?..............................The Best is yet to come.

This is a fun piece Peter! I love the rhythmic motifs you used, they were very catchy. Some of your piano part (m.10-13), has a bit of a gospel chord comp sound, which I love. Your treatment of the strings here is very clever and well thought out...your choice in dynamics + with the lines you wrote make this piece sound fuller than just a trio. Your pizzacato sections rise up out of the first 1-2 measures of piano (excellent use of dynamics). The timbral changes are a nice contrast to the soaring lines you start with. (I am obsessed with the Bb-Bb-A/Ab-F 🤌🏾) Another wonderful piece!! Thank you for sharing 😁

The instrumental sections of "Stardust" sung by Nat King Cole. That intro is heavenly! https://youtu.be/EENrbo-Zvs8?si=p1U0fLyCjt7sd5t- The instrumental bits are so delicious, so stunning! How does anyone write something as beautiful as this just out of thin air?

Very creative composition: Suggestions: Those thirds and those sixths are extremely cumbersome to play in the piano at that tempo, especially meas 23. (The measures before hand are not going to be smooth. Yeah, Liszt did it but not all the time and he was the greatest) Meas 53: You are going to have problems executing that. My $0.02

I need to try that. I am still an advent Finale user .

Anything about the book of Matthew, I love it. Critiques. This could be..and probably should be done with traditional String Quartet. Odd instrumentations tend to not get played. String Quartets ALWAYS get played. 24-7, 365; a string quartets are playing somewhere.. The arco might not be feasible in meas. 2. You may need to take out the E5 on the "e of 4" to make that arco happen. Also, I know you want it short, but....the rule of thumb for typesetting is don't use rests whenever necessary. SO, perhaps write the cello with eighth notes instead. It's just a cleaner look and easier to read. The equivalent would be writing you reading this sentence with all this space. It can come off as real gratuitous, convoluted. and byzantine.

Geistliches Lied 1 Golgotha fills with a shouting crowd: "We beg You — King of the Jews — now kneel and worship, now save Yourself." My sin, rougher than that crown of thorns, tore Him, and He gave everything — that love. He endured all mockery, all suffering, and walked the Golgotha of the cross, this Jesus. The Savior, Jesus. Jehovah-Jireh, the Lamb Jesus, the Redeeming Savior. Golgotha fills with a shouting crowd: "We beg You — King of the Jews — now kneel and worship, now save Yourself." My sin, rougher than that crown of thorns, tore Him, and He gave everything — that love. He endured all mockery, all suffering, and walked the Golgotha of the cross, this Jesus. "Father, why have You forsaken me?" My Father. Jehovah-Jireh, the Lamb Jesus, the Redeeming Savior — Jehovah-Jireh, the Lamb Jesus, the glory of resurrection — behold, Jesus. Geistliches Lied 2 The crown of thorns drove deep, piercing His brow, the whip tore His flesh until bone showed through. Let me serve You, Lord, alone, wholly, and let me live so. The nails pierced through, driven into hands and feet — that pain, the spear pierced His side, blood and water flowed, and suffocating, breathing His last, He died, my Lord. All the suffering He bore was because of my sin. I will not repeat my sin, but follow only You. By Your grace, forgive this sinner. My transgressions lashed Your back, my iniquity drove nails through Your hands and feet. In agony, Your love bled out, enduring the pain of bones wrenched from joint, looking up to heaven in prayer, and breathing His last... Lord, Your whole body broken and torn — I kneel and repent; forgive this sinner.

Hey!! The soprano is too far in the back in your mix. Perhaps lower the string volume and adjust the soprano so you will have a better mix! Also, can you give us a translation also if at all possible?

EVeryone has echoed my thoughts on such a wonderful piece. Just as a tidbit, look at Beethoven's Pathetique 2nd movement; he does some of the aforementioned suggestions. Beethoven sonate-no-8-pathetique-2nd-movement.pdf

Congratulations on completing this work! I think it turned out much better than before. I am also happy to see the process of creating it. I look forward to enjoying your work in the future! Best, Lithl.

"I've tried my best to correct all the wrong notes in the score, but I'm wondering if the problem lies with the virtual instrument or with the notes themselves. Has anyone experienced this? Will it play similarly without major differences on real acoustic instruments?"

YES SIR! I would love to do that. I am honored you ask. Give me about a week or so. I'm traveling a lot this week but absolutely.

Göransson is truly writing some good stuff. Giacchino is another great one too!