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I also must admit that I’ve never read or heard about those two books. However, score engraving is an interesting topic for me and I take a lot of care to produce satisfying scores for my compositions. Therefore, that „debate“ should be something for me, too. The only „literature“ I’ve actually read about the art of music score engraving is the „Lilypond Essay“ which I’ve linked here. Even if I run the risk of @Henry Ng Tsz Kiu is thinking that I am a Lilypond lobbyist or salesman (😆, I must think on the „rodeo“ between Henry and @SeekJohn14v6 ...), I am just a Lilypond user, and I’m glad with this notation software for two reasons. First, the approach of writing „source code“ and „compiling“ it into a score and a MIDI-file is the right one for me, since in my everyday work I'm familiar with writing tons of lines of source code rather than using a WYSIWYG-interface. The other, and possibly more important fact is, that the resulting engravings are much more satisfying and similar to old-fashioned hand engravings than the most of the other notation software solutions are currently able to produce. So I had a small look again at the above cited „Lilypond Essay“ and, interestingly, the two books you mentioned can be found prominently in the „(Short) Literature List“. I looked around, if I could find some PDFs, excerpts etc. on the internet – and indeed I found some, so that I can take a view on that books to be able to participate in the „debate“ soon. Thanks for the suggestion!

Quite well, except for the speed. I don't understand why there is such a fondness for music at this unnatural speed. Of course, the virtual instrument does whatever you want it to do.

Hi Henry. The quotations are very subtle and fragmentary. E.g. These two quotes from the Domine Jesu. I was aiming for a deconstruction of the Requiem: so I only used a few fragments, rather than quoting long passages.

I think keeping it is ok, though not necessary because only the cello and later viola would need the accidentals!

Ohh haha the Paavola translators fail!

I love that my name "Pyry" has been translated in the message you quote to "Piria"😅😂. But yes! I just woke up but I might send you a private message soon regarding the techniques! I will be following your work very closely!!! You have earned yourself a fan -Pyry

Attached is a blog where I have published several essays. Some are related to music, and others may not be of interest to you: Multidimensional Transmission Matrix, Musical Anarchism, Musical Improvisation as a Semiotic Process: A Peircean Reading of American Ciphers, Some Resources Using Escriabin's Mystic Chord, Some Scribbles and Writings of Traditional and Modern Techniques for the Electric Bass, Short Analysis and Essay on Karlheinz Stokhausen's "Studie I", Johann Sebastian Bach and Transcendental Aesthetics, Three Movements of Musical Thought: Thesis, Antithesis, and Synthesis (Three Works, One Concert), Origins of Jazz in Argentina, A Brief Encounter Between Some Eastern Philosophies and Contemporary Music, Archetypal Improvisation: Musical Semiosis Based on Jung, Tarot, Peirce, and Synchronicity. ©Sebastián Ernesto Pafundo. All rights reserved. https://sebastianpafu.blogspot.com/2020/06/soundcloud.html

Hi Henry and thanks for the kind words! I definitely tried to get a lot from very little, I've been doing that a lot lately. I did also think about the key sig. change... Do you think I should keep it as is and why so? -P

Hello, thank you so much for taking the time to listen. What you say about the OCD disorder and the piece is spot on. The piece didn't take me long to compose; once I start, I have to finish. However, it did take me a bit longer to refine some extended bass clarinet techniques. I worked on it with the performer, of course, and he helped me tremendously in resolving some sonic issues, as he has a catalog of multiphonic sounds. The musicians are very good, and I was able to apply structured improvisation using American chord symbols. Thanks again, and feel free to ask anything you like. If it's within my reach, I'll gladly answer. Best regards!

Hey Pabio, This is a very wonderful work of counterpoint! The canon is definitely very flowing which results in a very soothing timbre all the way. The only concern would only be the instrumentation when the variety of the color of the wind instruments cannot be displayed when they stay in the more or less same register throughout the whole piece. But this is a minor issue to me comparing to the great counterpoint you write! Henry

Like Mike I like the complete shift of mood, meter and rhythm in the passages. Thx for sharing! Henry

Hi @Alex Weidmann! Well I like the timbre of the variation with the long held notes. Just one question, where does the quotation come from?😅 I have performed Mozart Requiem before (as the bass two voice, the lowest in the choir lol) but I don't recall which passage it's from haha. Only after b.97 I recognize it's from the opening Introit of the Requiem haha. It's fun to listen to, thx for sharing! Henry

Hi @dhslamas! The music sounds so energetic with the distinctive baião rithm (I have never heard of it before, fogive me 😅). The color of the piece is wonderful too as you give each player their own passages for taking the melodic lead. One small thing is that maybe from 1:28 onwards when the rhythm stops the whole music stops with 2 beats and having gaps in it which I would fill in to push forward the music even more (though it's my preference only). This is a very enjoyable playing as well. Thx for sharing! Henry

Hi @PaavolaPyry! I love this minimalistic piece. It sounds really reflective and full of emotion despite using only very few materials. Maybe I won't change the key signature in the middle section but that's my personal preference. Thx for sharing! Henry

I got my piece to play for today 😁

Thank you very much Pyry! Have a good evening!

Hia, thank you for the answer. And I completely understand and relate. It is a shame about the score. But yeah, passion is what keeps the ball rolling, I applaud you for that. In case I forgot to mention it, I still liked the piece! Keep on going, I might check some of your other posts in the near future. Good night! 😄

Hello there Pyry, I appreciate your comment and I like that you are giving your opinion in such a peaceful way, unfortunately the score for this composition as for some others is lost and as it is finished I didn't have a reason to make it again and it is not an easy thing to do actually, I had kind of the same opinion from one friend that I had who plays the piano and composes also, and I will agree with you at some point as I did with him and with myself, I hate my music more than anyone but I also like my music more than anyone and I'm listening to it like a drug addict and I always want more from me so I know exactly what are you talking about and thank you for mentioning it with honesty. Best wishes from Greece, Demertzis

Wow! I am very impressed! This reminds me of some pieces I've written myself but I am really excited by this! The techniques are well used, timbers and harmonies work. The score also looks well thought out (using a landscape style view also seems to be smart). How long did this take to make? I have two very close people in my life (one could even call them family) who have OCD, and even though I don't score particularly high on those tests I still feel that I have a basic understanding of the disorder. The sudden strikes and hits definitely seem to hit a mark. It feels like a fight. When I hear a major tonality or something "easier" to listen to I imagine the situation in which you do the thing your anxiety tells you to — But as is evident by the piece, the anxiety comes back. To my understanding that is one part of OCD but once again as I don't myself experience it I hope I am not making any mistakes in my analysis. If you are open to discussion about this piece I have many questions concerning the process and symbolic decisions you made! Thank you, Best wishes from Finland, Pyry.

Would be very interesting to see the score! I am not sure whether you are looking for critique or not so I'll keep mine short and open to interpretation: I feel that the piece has a lot of potential but doesn't develop, merge or play with ideas for as long as I as a listener would want. You have good ideas, now the work is to look at the thing as a whole and tie them together. But that's just my view. I really am a big fan of pieces that have long developments that still feel interesting. That being said, Rite of Spring is my favourite piece but... Best wishes from Finland, Pyry

I also noticed something: In your horn parts, you have one two horns, but it the scores implies 4?

Hello @Thatguy v2.0 After I thoroughly listen to the piece, here are my thoughts. Playability: The prelude is certainly playable for pianist at late intermediate through late advance skill level. Everything is well marked throughout the score. (There are no questions about the accidentals). Motive(theme): The theme is well devolved thorough out the piece. Harmony: The harmonic colors underlaying the minor theme create sense melachony. 🙂 Form: A, A1. A2 is well done. Tone(taste): This piece reminds me of Pictures of exhibition in some way. I love Mussorsky works. 🙂

It's a G minor 9 chord! Did I win?!?!?!