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Late to the thread, but in case you're still wondering, or in case anyone else is, what you're asking is possible, but with caveats and provisos too many to list here. These are called pedal accents. Samuel Barber did this in Medea's Dance of Vengeance, Wuorien in his Bassoon Variations, Carter in 8 Pieces for 4 Timpani, and John Williams in the original Star Wars main title. When it gets faster than (roughly) the Barber example, you're venturing into articulated gliss territory. (Pardon the shameless plug, but I wrote the book on scoring for timpani, which you can find in my signature below.) Check out Randy Max playing his timpani adaptation of Bach's Toccata and Fugue in D Minor to get an idea of some possibilities. But again, you have to know what you're doing to write this and you have to be certain your timpanist is up to caliber, and you have to be certain that the part can be learned within the timeframe the timpanist is certain to have. So writing something like this for a studio session where the timpanist is only now just seeing the part would be a disaster. In the John Williams case, his brother played the timpani part, so he might've know about it beforehand, and it was just a descending F mixolydian scale across three drums (which, by the way, requires the timpanist to sit rather than stand). Anyway, the Randy Max piece has a series of articulated glissandos and pedal accents. You can buy the score from him.

Really good writing there! My one slight criticism is that I think it would better serve your music to use a higher quality organ sound.

The wacky adventures of Inspector Looso - Main Theme- New Fetchflix TV Show soundcloud.com/user-461764443/sets/the-wacky-adventures-of Luc Clouseau is the proud son of the French inspector Jacques Clouseau and his ex-wife Simone Clouseau. Having the same talent as his father for investigation, he is to police investigation what P.D.Q. Bach is to music, a total disaster. Stay tuned on Fetchflix TV during the next months and enjoy this new series called “The wacky adventures of Inspector Looso”. “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. Ho and for those who did not get it, Fetchflix TV is also fictitious.” Music & Production: Syrel Photography: Portrait generated with DAL-E Musical note: You may recall the theme I used in the Rust & Bones - "Inspector Looso" track. However, this time I tried to use the humor and derision of John Williams and added the sarcastic tone of the American composer and musical satirist Peter Schickele who created the fictional composer P.D.Q. Bach as well as the Gerhard Hoffnung humoristic music style.

Thank you so much Luis, I am really glad you liked it! I agree that the score lacks soul. I am planning to add dynamics and markings but now since I did not compose it through the software (where I was forced to place dynamics for the midi playback to sound realistic) I am actually not even sure which markings to put that will make players perform it as would like to 😅 I will have to give it some though and add them to make the score looks better. Thanks for commenting and I hope everything is going well with you!!

This capriccio has an air of ancient dance with a lot of charm. Your works are so concise and stylish.

I love the organ in this context. The Prelude is very beautiful and I find the language very idiomatic for the instrument. And the final part as in sequence very appropriate for the transition to the fugue. The subject is already extensive and interesting. From here on I just go with the sound. The counterpoint is very good. It is good that in some passages the voices are thinned out. A great job. O sea enhorabuena.

I appreciate that this piece is very careful when it comes to dynamics and accents, which is how I think it should be even if we use virtual instruments. There are interesting harmonic changes (bar 50). Also well sequenced chord density changes.

This work surprised me. It has a beginning influenced by composers such as M. Falla, although I think that the profusion of arpeggios detracts a little from its sense.

It seems to have a lot of influence from Mozart and the like. What I don't see very clear is the "for two pianos". Maybe if there was a score.

It is a delicate and very beautiful piece. It also seems to me very coherent in terms of its structure and evolution. It's a plus that you play it yourself, although for that very reason the notation lacks the "soul" (no dynamics and all that). A great job.

Hello everyone, I want to share a Bagatelle I just composed. I composed it all at the piano (my first piece composed in the piano, instead of through Sibelius) and wrote it down afterwards. I posted it on the "Incomplete Works" section as I was having second thoughts about the B section but I ended up not making so many changes and only some improvements here and there. It is a Bagatelle in F major for piano (thanks to @PeterthePapercomPoser for giving me the clue to find out the style of the piece). I played it in a Yamaha P-515 digital piano with the Bösendorfer piano sound. Since my playing is not so good I had to record the whole thing in three different parts and then mix them in Audacity. I tried to fix any sound issue that appeared but there are two particular spots that sound strange as I was not able to mix them better, so sorry about that. Also, I make a couple of mistakes here and there. The good thing is that, since I composed it by playing it myself, it is not a particularly hard piece to play. The piece is in ABA' form with the main theme (A) in Fmaj and a contrasting section (B) in Fmin. Any comment and feedback is more than welcome! Thank you for listening and hope you enjoy it!

Posting a prelude I wrote again with sheet music this time Prelude_Op11_No1_20240218_222441.mid

Your explanation seems to be the most logical.

I just checked the "Fur Elise" and it is a Bagatelle, not a Barcarolle. It seems we both got mixed-up 🤣. And you are actually right, Bagatelles are normally short piano pieces light and melodic in character so it will suit this piece perfectly! I will probably name it Bagatelle then. Thank you so much for the compliments on my playing! I am still learning so my skills are not too good, and I had to record everything in three different sections which I had to mix later 😅 But I find knowing piano helps so much for composing faster and, of course, it sounds much more beautiful that with Sibelius and Noteperformer. I will try hard to keep on learning even though it is harder than I expected :S. Thank you!!

I am not familiar enough with naming conventions about the barcarolle. I just threw that name out there because I thought that Beethoven's Fur Elise was a barcarolle and I considered your piece similar enough to it to warrant a comparison. Btw - I really liked the way you played it! It has a very personal touch of rubato. I wouldn't change how it's notated - it's very individual and not cookie-cutter as @gaspard would say.

Thank you so much for your comment and encouragement, @PeterthePapercomPoser! After reading your comment I learned to appreciate the B section a little better and tried only to make it a little longer instead of changing it almost completely, which was my original plan. I guess the only thing I can do for feeling more comfortable and less self-conscious about the contrasting, development, and variation sections is only to keep on practicing until they come up to me more naturally and learn to trust more my musical decisions. I checked the link and I really liked your idea of varying themes and musical ideas only a little (making it stay almost the same) but doing it in a recursive way so, in the end, it results in a totally different musical idea. I will try to use that as a practice for developing pieces in the future. Could it be considered a Barcarolle? I though Barcarolles were mostly in compound meters but I do not know much about the style. My piece is in common time, even though I cannot imagine it without the exact same rubato that I played it with (so sometimes I am even wondering whether I actually notated the tempo incorrectly). I ask about it because I will post the piece soon as a completed piece in the forum when I solve some audio issues but I have not idea how I could call it. I normally like to call pieces by the style it is in "Minuet in Fmaj, Waltz in Fmaj, etc...". In this case I am not sure what it is and I do not want to call it "Binary form piano piece in Fmaj" 🤣 Do you have any idea in which style/form this piece could be fit? Would Barcarolle be appropriate? Thank you for your comment and hope you are doing great!

Yes, the Oldroyd book is outstanding. The one by Hugo Norden, Foundation Studies in Fugue, is an excellent short book to get you up and running pretty quickly on your first fugue. After that the Oldroyd, and maybe the exhaustive one by André Gedalge, called Treatise on Fugue, of which there is a public domain copy you can download for free, though I forget where. Before fugue, if you really want to go deep into Canon writing, for your strettos and whatnot, Hugo Norden's Technique of Canon book is fascinating.

There is no standard, of course, but one minute seems like it oughta be about the shortest, and three minutes maybe the longest. It might be worthwhile to look at the durations of some of the more well known cadenzas in the repertoire.

Sibelius Symphony no. 7 The Shostakovich symphonies Stravinsky's Symphony in Three Movements

Do you mean this in a stylistic sense, as in the tenth is his only symphony where he writes in a more 20th century style, rather than his usual late 19th century romanticism? Because I can see where you're coming from if so, but if not, chronologically, symphony no. 4 and all those after it were written after 1900, and a good few of those are among the greatest symphonies of all time, let alone the 1900s (nos. 5 and 9 especially) I would argue that should be how we define this question, since after all it's literally "the greatest 20th century symphonies" and those are symphonies written in the 20th century.

No reason to be sorry my friend. We all do make mistake aren't we?

This is my "Caprice for Solo Violin No. 6". With such works generally being composed in sets of multiples of 6 (Locatelli's and Paganini's caprices for solo violin coming in sets of 24, and Bach's partitas and sonatas for solo violin and solo violoncello being six each, and in more modern times even Ysaye's sonatas for solo violin coming in a set of 6), I look at this 6th Caprice for solo violin of mine as being perhaps of greater importance since with it I have finally completed a set of six caprices for solo violin (spread over 13 months from March 13, 2023 to May 5, 2024). Here are the links to my previous 5 caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/ https://www.youngcomposers.com/t44505/caprice-for-solo-violin-no-3/ https://www.youngcomposers.com/t44826/caprice-for-solo-violin-no-4/ https://www.youngcomposers.com/t44862/caprice-for-solo-violin-no-5/

Hi @JorgeDavid! I think this is a quaint little barcarolle! The theme really works and is beautifully simple. I think every note you wrote here is essential and related to the main theme. It is so good that there's no shame in repeating it - Beethoven does the same thing in the Fur Elise. Also, your arpeggiation of the dominant chord happens very naturally and arises from the melody. As for how to vary your melody - you already made a quite successful variation in the parallel minor! Other ideas might be to change the tempo and meter to give the same material a totally different feel. Also - check out this topic: Thanks for sharing!

Thank you!