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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

I found a mash-up of jazz standard "Take Five" and the Chocobo theme from Final Fantasy games! This is actually in FFVII:

Any and all feedback is appreciated, including if there’s a more appropriate title than “dance”. The performance is automated with the Flat app

The ending is pretty weird; but it definitely made me laugh! (So lived up to the title.) Hope you're fully recovered from your recent illness Henry. Sending good wishes, Alex

Hello Aw Ke, Thank you so much for your sub, brotha. Happy you are supporting my new channel. I definitely agree with both of your points, there are quite a few unmanageable chords in the third piece, especially for children. I'll try to simplify it more when I get it performed by other ppl, though, to me, it seems a little strange to have the Ossia be a simplified version of the original. Should I correct the original and have the Ossia be the harder version?

Hello Alex, Thank you truly, I am so glad you enjoyed the pieces. Ravel is definitely one of my favourite composers so it isn't surprising his harmonic language influenced me. stay tuned for more works.

Thanks so much for the comments! It's almost been one year... haven't had much time to compose but I did work on a few more piano works and one orchestral one actually - will take note of this as I compose!

The score is provided along with a score and audio video along with the Muse score. Link for those who want to see program notes. “ some are more effortlessly get recognized then others ”. “ it’sjust not a skills thing. It’s a luck thing.” From true experience, some people are somehow treated betterthan others whether if it’s from environmental factors, the wholeidea about pretty privilege where some people could effortlesslyget what they want while others have to fight for what they need Now imagine a world where the bottom of the the pyramid fightsand topples the top some may say “ revolution” (Tl;dr, revolution,basically revolution) https://musescore.com/user/53049012/scores/25123696

A revisited, revamped and restored version of a little fugue I first composed back in mid December 2019. Given I had only started composing a few months prior to that point, this one was previously riddled with contrapuntal flaws and mistakes of all sorts, the vast majority of which have all hopefully been fully corrected or at least starkly mitigated after this revision. Enjoy! YouTube video link:

You can see from the above posts in this same topic haha!

Do you mean adding something with the slow style of the beginning to the other two segments of the piece?

Thanks for the reference. What did happen here though? 😶

Hello This is an interesting question. I think that whenever a piece is tonal, or has those roots, you have to specify tonalities in the armature. Whether they are all put in every time you modulate may be a matter of style. In baroque they didn't use to change the key signature with modulations. In romanticism it seems to be the norm. I think that leaving the score without any key signature is for atonal works, where all accidentals must be indicated. In your work, which by the way is very good, there are moments that can be expressed in another way. For example here. That mix of measures with sharps and flats is a bit strange and I also think that for a pianist it can be confusing. I would have continued with flats in bar 35, writing this bar, and bar 37 as Cb (which, yes, exists too). And in measure 39 place a key signature for Ab. What sounds there is an Ab6, or a G#6 (although in this case the F natural should be written as an E#). Anyway, you can see everything... I've always been amazed at what Schubert wrote in this piece. He already uses a strange time signature. The whole piece is in Gb except for a bar and a half towards the end where he breaks the whole key signature and puts there chords like D, D7/C, Gm/Bb... and resets the original key signature...

Where you have a key change that only lasts one or two bars, I think the usual practice is not to change key signature. When the harmony is free roaming, it's quite common these days to have the whole piece in a neutral key (i.e. no key signature). That would also apply to atonal works, or those with no clear tonal centre. When there's a recognisable chord for a particular key, then you should use the enharmonic spelling for that key. (But you seem to have done this already in your work.)