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Thanks for listening! I do think there's some Baroque influence in it, though the Hummel concerto was probably the model most present in my head. As I was writing the second movement, I did worry the style was veering too far toward Romanticism, but I liked the movement and didn't want to change it.

Thanks for listening! Yeah, I was going for an antique English sound with those C naturals. By the way, I've been intending to listen to your C sharp minor sonata in full (I listened to the first movement when you first posted it on YouTube) but want to do so when I have plenty of time to enjoy it and give you comments.

My zeroth submission:

Hey all, I've lately become a little sick of writing solo piano music—I did set myself a goal of writing preludes in all the major keys and am nowhere near done—so I decided I wanted to try something new before the new year rolls around? This is my first time trying to write for this ensemble and also the first time I've ventured properly out of my usual idiom (normally Late Romantic/Impressionist with sprinkles of jazz and Asian folk influences). I don't exactly know what genre I tumbled into but I definitely like the general sound I'm getting from it. That being said I am certainly not finished but I figured I'd get some opinions first before I keep going... Cheers!

Fair point :3 ive actually fixed both of those issues in the finalized version I gotta stop relying on feedback tbh For example i almost never use the viola for melodic lines simply because musecore's playback for it is terrible

It sounds good, and it’s in keeping with the title. I think some aspects still need refinement or closer attention. For instance, there are moments where six French horns have been written (in chords). Or that part at the end, around measures 35-36... in fortissimo, the harp won't be heard at all.

It is a very enjoyable and coherent concerto. Discussing its style is complicated, even if we use it as a point of reference. For me, it evokes certain Baroque memories, but that is due to the solo instrument: the trumpet, given that there are hardly any concertos for it in the Classical period (aside from Haydn and Hummel) and even fewer in the Romantic era. I find the first movement to be more in line with a Classical approach, while the Adagio feels more Romantic. In any case, it is a great piece of work in terms of composition, orchestration, and editing.

Tintinnabuli is Árvo Párt.

Your replies make me believe more that you may be lobbyist or salesperson of Suno lol... Maybe you never write absolute music yourself... Tintinnabuli is a technique and compostional style, but I guess if I explain to you I will once again be stigmatized as "elitism" ,so, 😴. Henry

Suno is basically you write lyrics, add instruments you want and the music genre you want then generate a song and see if you like it. If not you can tweak it until you like it and since you already know music, it will be a lot easier for you to create masterpieces. So I guess tintinnabuli is like a set piece or something and adding something to it or voices or other instruments, would mess it up?

I like the microtonal version more than the normal D minor version this time, because it makes the theme even more haunting and grosteque. I really love the harmony here, and that piccolo is toxic to listen to. The timbre is very well created especially with the double bass to create the evil mood. The only thiing sounds slightly off to me is the recording's solo violin, which to me sound a bit too loud comparing to all other passages. Thx for sharing! Henry

Hi @mercurypickles! I like the more antique mood in the carol and how you end each phrase in a Picardy 3rd! And I always love how calm and transcendental F# major is (even though you mark the key signature as F# minor). Thx for sharing! Henry

Hi @Luis Hernández! I love how peaceful this piece is. That bare A I don't know why, reminds me of the Veris leta facies in Carmina Burana: Thx for sharing! Henry

Hi @Aiwendil! Just like @Luis Hernández said this one is very joyful and solemn to listen to. I love how you augur the theme by trumpet first and then followed by other instruments. That Lydian sounding C natural in b.16 and 20 hints at a more antique English style and I like it. The imitation section follows is nicely done as well, and very nice reprise as well, with the Amen cadence at the end! Thx for sharing! P.S. Thx for your comments on my youtube channel for my Violin Sonata! Henry

Mike this one is funny! The mashup doesn't sound too off together and well fitted to the Xmas mood haha. Henry

Hi @Wieland Handke! Of course this one is more colorful than your first submission, but both are good in their own ways. The first one in a chamber setting is more calm and serene in character, while this one is more "universal" and broader with an orchestral setting. Thx for sharing the second version and submission! Henry

Hi @Wieland Handke! I love how the three instruments blend together and honestly this is the first time I heard of the instrument Theorbo and it said it's somewhat like a lower register lute. Like Mike said this piece is really calm, especially with the lower volume organ and the Theorbo. Thx for sharing! Henry

Hi @HoYin Cheung! It sounds a lot like the interlocking structure of Gamelan but this time with chimes and marimba haha. Nice polyrhythm as well. Thx for sharing! Henry

Hi @Vavrinec! This is a really enjoyable festive little miniature! It's so joyful to listen to, and even if the mood sounds easy you still use technique to make it sound easy. The opening is already captivating with the 6/8 lively rhythm. The combination of the flute melody, high shivering tremolo strings, running notes for Clarinet and the triangle aleady set the festive tone really well, and then the oboe joins in which is a nice addition. I may repeat the whole section but this with the strings doing the melody and winds doing the accompaniment. For the trio section I like how you give lower register instrument like bassoon and cello to sing the melody, contrasting with the main section, plus in a warmer subdominant key. B.25-32 gives great depth to the melody and I really love how you add the sleigh bell ! Honestly I just want the passage to extend to infinity! And the end, what a nice random pause! It really creates a humorous effect that is well suited to the mood of the piece. Really nice piece, thx for sharing! Henry

Hi @Crescent Roulade! This Christmas piece gives me a Chinese feeling because of its use of pentatonic notes. I do enjoy this little piece! Like @PeterthePapercomPoser said I perceive the melody to begin rather on beat than in syncopation, and in 4/4 time than 8/4 time. Thx for joining the event! Henry

Thank you, I'm glad you like it. To be honest, I have no idea how Suno works. But in that case, the basis of this piece, which is the tintinnabuli, would be broken.

Tho I think it's nothing special to have perfect pitch, since millions of people have it. But with pitch each key does have their distinctive characters. Maybe that's why some people feel like different keys sound the same. Yeah they say Chinese and esp. my language Cantonese gives ppl a higher chance to have perfect pitch, becoz in my case there are 6 (or some may say 9 or 10) tones so we are already familiar with different tones when we are babies which help create the perfect putch thing. Henry

What a coincidence. There are a whopping 24 standard keys to choose from, and we have the same favorite. Of course, in a world with things like the Birthday Parodox, that is perhaps after all not so surprising. It's extremely nice having perfect pitch, isn't it? They say it's a curse, but it's the difference between hearing in black and white, as normal people do, and hearing a whole spectrum of colors. In truth, I can't fathom how ordinary people hear. Apparently, they hear structure--intervals--but do not associate particular notes and keys with any unique qualities. I always wonder how they can even perceive a key change. To me, a change of key is, for example, like going from yellow to purple. But they evidently do not have that experience--for them it's purely about the intervals. I took a genetic test recently which showed that I apparently have heightened musicality from distant Finnish ancestors. I wonder if this is where I get the perfect pitch from. I am not Asian, to be sure, so it isn't related to having Chinese ancestry (Chinese people have a very high rate of perfect pitch, probably due to a mix of genetics and the nature of their language).

Beautiful, haunting theme. VERY dark sounding. I actually think the microtonal version sounds better because it gives off that "ruined castle vibe" a little more realistically in my opinion, and I feel like it accentuates your melody. The dynamics of your stringed instruments are well done.