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I wrote this piece for Policromo ensemble, is inspired in baião rithm, a typical brazilian music.

I dont consider popular composers to be underrated. For symphonic works composers like George Lloyd, Malcom Arnold, Vagn Holmboe and Eduard Tubin are amazing great modern symphonists that dont get enough love but they do have a following, they just dont have the mainstream they deserve. Heitor Villa-Lobos is an amazing symphonist. Alfredo Casella is very underrated and so is Arnold Bax. Walton, Delius, there is plenty of composers out there that are great yet not mainstream, kind of obscure. For more solo and chamber/concertante music you've got the amazing Samuil Feinberg. But for my actual list i will list actual obscure composers 1.Alun Hoddinott - Not the best melodist for sure, the music is pretty unstructured, but interesting nonetheless. 2.Aubert Lemeland - A modern French conservative who is worth checking. 3.Eric Chisholm. 4.Carl Vine. 5.Viktor Kosenko. Most overrated composers 1.Hans Zimmer - Good for impressionable people who didnt expand their taste. 2.Ludovico Einaudi - Just no. 3.Sergei Rachmaninoff - I just have never really felt the music. Mainly the orchestral stuff. The solo stuff is the only thing i remotely like. I can't think of more. Anyone who claims Brahms never innovated doesnt know a single thing about Classical music or Brahms either.

Hello @mercurypickles! Great job! It's a shame this set of Carol's got so little attention on account of being submitted so late in the event. I was also puzzled about why you chose to use the piano in the part of the piece where you did. Did Musescore have a hard time rendering that many voices at once? I've been making some Christmas Mash-up's lately for choir and string orchestra and I didn't run into any problems with rendering too many voices at once. I'm really curious about the particular problems you encountered. Thanks for sharing!

Rachmoninov haha 🤪

@therealAJGS I like the different textures that are used in this piece. I am curious what used. Do tell.

Ok these files should be readable for all now..

So now I have managed to create readable PDF-files of some of my compositions on my youtube channel https://www.youtube.com/@sbn-p4787 The direct link to the ones you requested are here: Whispering Mountains PDF The Evening Sun PDF Also a new Symphonic fantasy - White Morning and score White Morning PDF These scores are not made with performance in mind - the slur-lines are for playback, many of them not possible to play like that for wind/brass/string player.

@PCC "Mr. big hands" 😄 I am not Sergi Rachmoninov. He has larger hands than me. One of his preludes is challenge for me to play. *sigh*. But I understand the pain with those with small hands. @Henry Ng Tsz Kiu I have adjusted b32-34. I have shifted voice 1 down an octave. mp I feel is correct dynamic for the piece. I want to quite. Something is lurking in the shadows, you know. Version 2 is now attached.

Nice piece! I think it is good length, ok structure, and nice melodies/dissonances.

This is quite a nice short piece! Too short... Maybe add the lick in there...

Haha no worries - In fact, my goal is to create a complete set of festival music with strong contrast, and is self-contained - where you can find different types of music and enjoy it throughout any parts of the year. And as you may know, I want to keep the respect and tranquilty of Double Ninth festival so I won't be too "harsh" on the melody😆 Btw, I actually wanted to use Dizi instead of Flute and Clarinet - but I didn't have the sound library for that lol

A like to this for your inspiring you please!

Dont have a chance to listen to it, but from reading the score the drone like base creates this strong anxious atmosphere with the melodies on top. Reminds me of second mvmt of Sibelius 2nd symph also, Mr big hands syndrome again… unlike you expect rolling all of those chords? (Which I think ruins it a bit

Hey Henry I was just thinking about what you said and now that I think about it more there are probably more unexplored variations that could probably start with "Jezus..." instead of "God Rest..." .. I just went with the first successful combination I found honestly

Well, he avoided it to enrich the harmonic fullness of his counterpoint, but I don't think have to avoid it here given the style and mood. Maybe the opening left hand figure can end on C instead of note F, that would provide a morr ambiguous reading.

Here's my submission:

https://www.noteflight.com/scores/view/71e5c9cb2af83e1b63286b8d3463d66cbc0d02fb Untitled (2).mid

Cool mashup. The harmony and key changing help keep things alive and fresh. And it seems like the rhythms are different from the original if I'm not mistaken. The piece was composed so smoothly, I couldn't tell when you switched up the songs, and I had 5 minutes to try and figure this out lol. I did notice that as you were about to wrap up a section, you suddenly changed the key, tempo and dynamics. It got my attention each time you did this.

HI @Henry Ng Tsz Kiu Thank so much for the review. 1. Bach would be rolling in his grave. He avoided direct octaves. I could edit that and make it more playable. 2. Great idea about adding dynamics. That was something I was trying to sort out, but, alas...couldn't. 3. Although the key is F min, I want the tonal focus on the piece to be v (C). And I wanted to use chromaticism to push the piece further away from I. I am glad to share my works, Kvothe. P.s. My musical style and taste is endless. 🙂

Thanks for the advice. I tried two different other ways of combining the two Carols together so that they would finish their stanzas at the same time. My first attempt was to use a 6/8 variation of "God Rest..." while having the "Jezuz Malusieńki" in 3/4. There were 3 trailing measures at the end of "God Rest..." solo without "Jezus...". In another variation I had both Carols in 3/4 and had 4 measures of "God Rest..." solo without "Jezus...". Also, "God Rest..." has a pick-up anacrusis note while "Jezus..." starts right on the beat. The staggered entrances I used in the mash-up were my solution to these problems with the goal being to have both Carols coincide and finish their stanzas at the same time. I don't think there's any other way of achieving that - I think I tried quite a few alternate ways.

I say lead because after the exposition of each of the carol melodies in section A, it's always the English melody beginning the passage before the Polish melody follows two beat later. This happens in the beginning of section B, C, D and E. Even though there is change of the voices which is assigned the melodiees, I still think there can be some variations on the order of the appearence of the melodies, i.e. have the Polish Melody appears first and followed by the English melody!

Hi @Kvothe! In normal pieces I will find those parallel fifths and octaves between the melody and the ground bass unsettling, but here it well fits the mood! I do think the mood is well portrayed! I like the thicker texture and motivic writing in section B. But beware of passages like b.32-34, as no piainist would be able to play a 11th interval on a piano, maybe only on a harpsichord. Also more details can be for sure added like the dynamics. I don't get what you mean; the piece is in F minor and the tonic is always heard! Thx for sharing! Henry

Both the English and the Polish melodies are tossed around the different registers of the choir, sometimes being in the Sopranos, sometimes in the Basses, Baritones or Tenors. Is that what you mean? I don't really think either Carol melody "leads" in this piece.