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This is a dreamy and delightful piece, which benefits greatly from the sound of the electric piano, Rhodes, or whatever.

Hi forum 🙂 Here's the second movement - adagio - of my first string quartet. It's a quite even piece, structured A B C A' D C. The A' is the first A theme replayed lower in a clear G Major tone, whereas the original A is more thought about as in a B minor b9+6 (written in a G Major key for commodity). The main theme of the first movement is hinted at on bar 28 (beginning of C theme) : That's all ; hope you'll enjoy 🙂 Best regards Marc

Nice and joyful work 🙂

Great work @Fugax Contrapunctus, counterpoint master 🙂 You set a nice drama mood here not devoid of hope as I feel it. Would be a great opening - though rather short - for a larger, epic opus. Thanks 🙂

Hi @Willibald I enjoyed your work. It's pleasant to hear some - nice - music in this demanding style 🙂 I'm a fan of harpsichord, which you handle well here. Regards 🙂 Marc

Hi @Fugax Contrapunctus I loved this work ; this is both a cool technical exercise and a well written theme 🙂 Thanks for sharing

How many takes do you need to get a recording of this length to your satisfaction? Bravo! I really enjoyed the transition at bar 63. (The "crazy" section). It works well as a bridge between the classical beginning and later jazz styles. I also particularly enjoyed the 130s (Allegro agitato) where you switched back in the other direction. And I heartily agree with Chopin's comment above about the value of structure and storytelling in music. To tackle such a lengthy project that becomes perhaps the most important concern. How can the same material be brought back and developed in a way that tells a story? You are further along on that journey than I am! Well done!

Thanks! But it actually does not have a form, early baroque sonatas does not have a form at all, it was more based in sections, and it was one single movement, but in those different sections there could be different time signatures, rhythms, modes, tempi... So its a very free style. And also we don't work with phrases, more like motifs, and the imitation and developing of those. About the reverse chord idea its already very much common in all the early baroque repertoire and also renaissance, the only thing about picardy thirds is that they are basically optional now days, but back in the renaissance and baroque it was basically obligatory, because the most common temperament in that time were Meantone temperaments, which favor pure major thirds and sixths. Because of that most of the cadences are indeed using it, but its not really obligatory, you can have an entire piece without any picardy third, and to standarts of that time period it would be completely fine. The reason i use them is because they were obviously more common than the normal minor chords and because they sound nicer to the ears, since the melodic line of the voice which creates the major third in the end is almost like sweetened, and its much easier to sing than the otherwise natural interval.

Sorry, I meant to write Audacity; not Audials! (That's a completely different piece of software!)

yeah it's really difficult and does take me a lot of time to practice. But it definitely worths it even though I still make some mistakes on the recording! Thx! I actually like the sudden attack idea of the 1st subject so I don't arrange a longer transition after the 2nd Subject! Haha yeah I feel like the 2nd mov is out of place in a good way, since it is there I try to find peace between two bombardous movements! And I do like its reappearence at the end here. Thx very much for listening and commenting! Henry

Thank you, I'll take a look at this to see what I can do. 😃

program notes: Act III: Betrayal Ross begins to sense something wrong—what should have been a simple meeting starts unraveling into a web of deception. Aldric secretly contacts Isolde, planting seeds of confusion. His new, manipulative theme emerges, cold and calculated. Isolde’s presence grows stronger, but so does Ross’s fear. Despite Ross’s efforts to intervene, Aldric’s control deepens. Tension builds as Aldric floods Isolde with messages, mocking Ross in the shadows. Ross spirals into paranoia, captured in the emotional haze of the Pool of Constant Fear. But clarity breaks through—Ross finds a way to act. He reaches out to Isolde himself. A confrontation follows. Aldric’s mask finally slips. His schemes are exposed. For more context visit this.

OK, thank you very much for your suggestion.

Hello @L.S Barros and welcome to the forum! Nice sonata! I assume (you can correct me if I'm wrong) that this is a sonata de camera? I love the constant exchange between major and minor mode that is so characteristic of music in this style, with all its Picardy 3rds (as I learned on your server). I do wonder how it would sound if you tried reversing the pattern - like, what if a phrase in a major mode ended on a minor chord? Or maybe you or some other Baroque-style composer already do this? I get the sense that this is a dance and is a piece that could easily be danced to in real life rather than just being a dance form that evolved out of an actual dance but is meant to be just an instrumental (which is why I'm guessing that this is a sonata de camera). Thanks for sharing and I hope you find this forum to be a good platform to share more of your works and participate by listening to other composers' works and possibly reviewing them! Kind regards,

Hey! I made this Early baroque sonata for 3 sackbuts, 2 violins and B.C. Its already my 7th sonata i have made and i am really proud of it.

Thank you for your two very touching comments. The 5/8 has actually imposed itself, in the double idea of constant imbalance, of a shaky race towards an impossible love. I didn't want it to seem like a free rhythm game (and I almost didn't want it to be noticed). And you have indeed perceived the subtexts that are in this poem, where we are already on the edge of expressionism. His tensions where the carnal and the metaphysical are tied. The entire last cycle of Jules Laforgue (imitation of Our Lady of the Moon) is haunted by this theme. An exile of love, a mourning of love, a throbbing pain, a frustration, and a feverish incandescence. He was probably already very affected by tuberculosis when he wrote this, since it was shortly before his death at the age of 27. And also well seen, I like to sow here and there some "turns" among other secret messages, which are a little Schubertian necessarily (when you have a piano, singing, you want to talk about Love and pain, how else?). Thank you in any case for your deep listening. It makes me immensely happy to know that my music is heard by such benevolent ears. I'm not done with Laforgue...

Chopin background with difficulties within difficulties the transition to the blues section was impressive. the reversion less so imo. but then I have no solutions I also felt the 2nd movement theme is a bit out of place in the middle of the piece, but then you do need it being there to prime for the coda for this theme to come out one last time

Hello @develop331 and welcome to the forum! I love this piece's subtlety and how sublime it is! The choral dissonances are very affecting and the orchestra adds just the right touch of ominousness at times. You sound like you know what you're doing harmonically and melodically with a clear leading melodic line and well-fitted harmonies underneath including inversions and open voicings of chords. I'm just giving my first impression on listening without a score btw. I also agree that cantamus could take your rendition to the next level. I also hear that you seem to be using different kinds of harmonic voicings for the choir and different voicings for the orchestra which is (I think) the right approach in this kind of piece. I don't often write for voices though. I played French Horn in college and university and I have to say that it's actually quite common to see bass clef in French Horn literature as it has a huge range! The only confusion about that is whether the particular literature is using old style bass clef notation or new - there's an octave difference between the two. But the 2nd and 4th horns in the orchestra are especially likely to encounter bass clef and there are actually different players that specialize in different ranges of the horn more, often buying different mouthpieces to better accommodate the sound and ease of playing they want to accomplish in the range in which they most often play. The Clarinet on the other hand does stay in treble clef only, opting to only use ledger lines (much like guitar except that Clarinet is a transposing instrument while guitar only transposes at the octave). Thanks for sharing and I hope to see more of your contributions on the forum! You could also listen to other composers' pieces and give us your opinion! Kind regards,

hi @PeterthePapercomPoser, thank you for your constructive feedback and thank you for explaining how to figure out the meter again! I keep getting it wrong xD I'm working on my next summer piece and am already confused on what the meter should be. For the ending of Star Away, I was going for a something fading away in the far distance. 🙂 I would love to try making lo-fi music one day, but I have no experience with beats as you can probably tell from my struggle with meters 😅

* looks at my own scherzi

I think this is a rather good orchestration; though it's very uncommon to see French horns written in the bass clef. Usually you would just write in treble clef, with a whole bunch of ledger lines. If you wanted a better vocal rendition, I'd recommend cantamus.app (which has a free trial period). That will reproduce the actual spoken lyrics quite well. You can mix the cantamus audio file with the orchestral MuseScore output using Audials.

I'll put the most notable parts of your movement in bullet points. Then I'll give you my thoughts at the end. Very powerful intro, that hooks right into your motif from the first movement. I definitely am getting strong Chopin vibes from 1:00 - 2:25. The blues section was definitely surprising to me, but it was a really fun section! Then we get brief hints of Rachmaninoff at 4:30. At 5:30, this is a nice change of melody. Love how the right hand and left hand share the melody here. 6:40 looks brutal, 16ths notes against 16th notes at that tempo? I remember you telling me that this part was definitely as hard as it looks! Then you take the first motif from mov 1 and merge with the blues style, which is very fun. At 8:40, you have a nice variation of one of your first melodies, which is my favorite part. Then at 10:20, we have the return of the pentatonic! Without a doubt, the most most relaxing part of this piece, a nice contrast to the rest of your movement which is mostly energetic and fast paced. Love how the ending brings us back to your main motif from first movement again in powerful octaves. I think this piece can teach us that music is more than just melody or harmony. It's also about structure and storytelling. And this is something that can only come from the heart and the creative mind. The fact that I was able to categorize your piece into the above bullet points shows us how well organized this movement is. You use familiar styles to convey your message, but you also broke out of your comfort zone with the blues style. The reason why this was so effective, is because you didn't go overboard, you gave it to us in small bite sizes. Very beautiful work, and excellent performance!

Hello again @kaiyunmusic! What a wonderfully sweet piece! Great job and I'm glad you're finding satisfactory ways to title your music and the ending is alright too! Sometimes a piece can end on a sort of cliffhanger ending or on a question rather than a conclusive finale which is more fitting for this style of music. I have a critique of your meter in this piece - for the majority of the duration of the piece it's actually in 3/4. You can tell it's in 3/4 in the beginning because your melody is stressing the G, A, B ascension with D's in between. So that's 3 primary pulses per bar with 1 note in between each, hence 3/4. In 6/8 you would have two primary pulses per bar with 2 notes in between them. And you do actually have sections in your music that temporarily switch to 6/8 such as measure 25 and measure 53. I also love how the piece actually loops really well like it could be used in a video game or perhaps more appropriately as a lo-fi chill hop track. The harmony is also quite ambiguous. I think the piece is actually in G major rather than in E minor since you have a D major chord at the end in a type of half-cadence, preparing for a recap in G major. But instead the piece starts in E minor creating a kind of deceptive cadence. Very clever writing! Thanks for sharing.

Hi, I finished a new composition called Star Away. I chose an electric piano sound this time because I found it more fitting. Hope you enjoy listening!

The text for this piece is often attributed to St. Francis of Assisi, who died in 1226, but the earliest known published version was much closer to our own time. It may have been written by Father Esther Bouquerel (1855-1923), who wrote much of the content for the small religious magazine in which it seems to have first appeared. A popular English version of this prayer is as follows: Lord, make me an instrument of your peace. Where there is hatred, let me sow love. Where there is injury, pardon. Where there is doubt, faith. Where there is despair, hope. Where there is darkness, light. Where there is sadness, joy. O Lord, grant that I may not so much seek to be consoled, as to console; to be understood, as to understand; to be loved, as to love. For it is in giving that we receive, It is in pardoning that we are pardoned, and it is in dying that we are born to Eternal Life.