All Activity

Hello my dear friends. Here my latest binary Sonata no 24. I hope you like it.

Good job my dear Henry. Always aprecciate your work. Well done

38 years...THAT IS ONLY THE ALMOST COMPLETE FIRST THIRD OF THE DEVELOPEMENT!!! MAINLY THE TEMPO CHANGE TO 140!!!

I would get to Transcendent rank in a much quicker pace if I posted like you haha.

NEW TEMPO AND MATERIAL! NEW TEMPO 4=140!!! Exposition done.

UPDATE; THERE IS A TEMPO CHANGE TO QUARTER=140 for the third movement! That was the key! Allegro makes it difficult but more snappy! Composing now...

Hi @Krisp Papa Jean! I always enjoying your composition and singing and this one is in no exception. I really love the color you use in the whole piece. The chromatic harmony is fascinating, the low register secco marcatos and stacatissimo from the piano in the first section, the more diatonic and flowing passage in 1:26 gives a really great contrast to the previous section. It's interesting in 0:58 when the lyrics is "Scales Old scales" there is a scale playing from the piano. The repetition of the Digadoden with the secco staccatos and low register notes (and later sweeter legatos) is very well managed. The ending is really nice as well, as I thought it would end in a false dream and serenity but finally it ends with what begins the piece. Thx very much for sharing! Henry

Hi @Markus Boyd ! A nice Classical String Quartet which displays great writing skills for chamber music, I like all those passages when all instruments are given their voice. B.99 of 1st movement sounds really interesting to me for a delaying of the recapitulation. It's interesting to revisit an old work for a revision right? I only know that when I'm revisiting my Clarinet Quintet in recent days. One sidenote: I still enjoy Noteperformer more than Musecore sounds especially for strings---Musescore always automatically add slides between non slur notes in different strings which sounds a bit off to me. Thx for sharing! Henry

Hey Pabio @Fugax Contrapunctus ! I thoroughly enjoy this one! I love your Die Kunst der Fuge like treatment of the canon themes when you keep adding complexity to the piece progressively. I don't calculate the counterpoint you use at all but only enjoy it without thinking. It's sad that Gerubach passed away this early. His contribution is significant since he may be the first one to post score videos on youtube which lots of people follow his tracks later on. Henry

Hey Peter, I enjoy this one more than the no.1 one, probably since if I were Julia, I would enjoy a more sugary Rachmaninoffian style than any compositional thoughts haha *0*. This one sounds Brahmsian to me though because of how you handle the motive with saturation. Nice ending as well. Henry

Hi @Wieland Handke , I like the descriptive effect you used for both the train part and the nightingale part. I enjoy the train part more than the nightingale part, but only due to the rendition, because the should-be soft trills and glissandos representing the nightingales sound too hard to me haha. Thx for sharing. Henry

PREVERT!!! 🤣

A Special kind of MELODY that uses Block-Sections | Main Theme + Extended-Credits AIRLINE CLASS VIP .pdf AIRLINE CLASS VIP .mid

Hello everyone, I'm Zhang Wenhao, a singer-songwriter from China. Children's Day is just around the corner, and I'd like to share with you a pure and sweet love song titled "Sweetheart." The best state of love is being able to let down your guard and shed your defenses in front of your partner, returning to your most innocent and simple self—like a child. I've met someone like that, and fortunately, I am also the one who can make her feel like a child again. That's why I wrote this heartfelt love letter to my beloved. 大家好，我是来自中国的创作歌手张文灏。马上要到儿童节了，在这里跟大家分享一首纯真、甜蜜的情歌《小朋友》。 爱情最好的状态，就是能在对方面前卸下心防与外壳，回归到最天真、单纯的本性，像纯真的小朋友一样。我遇到了这样一个人，而幸运的是，我也是能让她成为小朋友的那个人。于是我写下了这首向心爱之人最真挚的告白之歌。 lyric/歌词： compose/作曲：张文灏 lyricist/作词：张文灏 producer/制作人：张文灏 周勇先 你可曾知道吗我的小朋友 当我第一次见你的时候 我的耳畔响起了 动人前奏 你不经意留下了温柔 你可也憧憬吗我的小朋友 憧憬着和我一起到白头 到那时候两个人 依然保有 第一次牵手时的心动 一起走在 小径一路聊聊天 仍有爱意淌在眼眸间 仍不能拒绝 你美丽的笑靥 仍然对你心动对你迷恋 一起走过 平淡的漫长岁月 不让炙热的初心冷却 用一生时间 陪在你的身边 酿作成我们的蜜语甜言 到那时候 已白发苍苍还能够 亲昵地再叫你小朋友 张文灏-小朋友.mp3

What MUCK! –SUCK—O CHARMANTE MUCK, SUCK! You know what pleases me! means I will leave to you guys! 🤣📯🎷🎤😘🎺🔔 😎

Was also researching Mozart's famous "CHUCK MUCK" letter, to his first cousin he called Bäsle who he was well, at 22 in 1778, and the rest of the letter has some particularly scatological puns that I will leave out, but is very long in a big text wall, because he was to be going to be going to see her soon, and the rest is very well written, but MUCK, CHUCK! –MUCK! –SUCK—O CHARMANTE! Mozart was just punning on a certain English cuss word beginning with F that he particularly liked! Mozart liked English and always wanted to learn it. He loved to say "good night" to his family every night and giggle at it, though gute nacht is almost the same! Muck, Chuck! | Mozartrazom

I wrote my first string quartet. I liked it while I was writing it, but now listening back I'm not so sure it would keep the attention of listeners. Maybe I regret opening with a slow movement. I think 2nd movement is best. I like the section in 3rd mvt. from 15:25 to 17:08, because of those chords and the counterpoint. And maybe I should have used more modern harmony in places to spice it up. 00:00 Movement I. 07:27 Movement II. 13:22 Movement III. Od. G. - String Quartet No. 1.mp3 Od. G. - String Quartet No. 1 [2026-05-29_06-41-34] .pdf

lol

I found myself on fat-finger spell check in the middle of an e-mail and was interrupted by a female friend of mine who comes most every day to help me clean, and was living with me since this past October, until about a week ago when she got her own place, and what I returned to was Whither in the livin. It was to her and I was talking about cleaning, and I was saying "whether in the living room or in the computer room." When the curtain is lifted in Act 1 of Mozart's Die Zauberflöte, the prince Tamino is being chased by a giant slithering snake, when the Queen of the Night's three Warrior Hunettes armed with bows slay the snake and rescue Tamino. He didn't know what he was getting into! He fell in with the Königen der Nacht. How much sense does the plot of Die Zauberflöte make? About as much in English as in German: absolutely none. I was communicating with Jackie and got stopped by that "writher in the livin" but it got me to thinking...Writher, Slither; that Schlang chasing Tamino was just slitherin' in the livin! Those Three Warrior Hunettes perforated him and ruined his day. If I were a snake, I would be slitherin' in the livin' too! 🤣

Wow even more attractive haha!

I had to bump this myself; confirmed myself this morning that this is just the second copy; anything else is a missing accidental, and I really need to watch myself on unnecessarily anal courtesy accidentals! If ever performed, the suite is easily excerpt-able as: Three Piano Pieces I. Barcarolle II. Allegro III. Toccata These two are obviously composer joke pieces; bad intentionally. II. Fuga Academica IV. Blues

Can be Fattening.................................If you have more that 10 Packets a day

Hello I’ll share my experiences as an amateur ‘composer’, though I do have extensive training (both self-taught and formal) in harmony, counterpoint, fugue, etc... and I’m currently working on orchestration. At first glance, it might seem that a concerto for a solo instrument and orchestra is easier than writing for an orchestra on its own. Because you think: “Ah, as there’s a soloist, it’s easy for them to take the lead and develop everything, etc.” But I believe the opposite is true. With a solo instrument and orchestra, the compositional difficulty multiplies, unless you want to limit yourself to a soloist and a few instruments playing chords. I think a good progression for composing is: 1) Write for piano. Even if it isn’t your main instrument, get hold of a MIDI piano, study how the classical composers wrote, and keep practising until your piano writing sounds natural (like proper piano music, not just a series of chord blocks). I see it this way because the piano is polyphonic and allows you to sketch out anything. 2) Write for small ensembles: string orchestra, small early classical-style orchestra. 3) Expand your palette by thoughtfully enlarging the orchestra. More instruments doesn’t necessarily make it better. 4) I always study the orchestration. Know about each instrument, its origin (which explains a lot about why an instrument is the way it is), what dynamics, ranges and articulations are possible, and at a ‘normal’ orchestral level. It makes no sense to write extremely difficult parts for orchestral sections. 5) And finally. Add a solo instrument. You can write short pieces. That’s what I’ve done so far with soloists. You need to understand very, very well how an instrument works to develop it as a solo part. Even Brahms consulted the violinist J. Joachim on his violin concerto.

Welcome to forum, what instrument(s) have you been playing?

I remember it's high B?