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IM 11 AND I PLAY THE FRENCH HORN!!! What are some of you simplest yet favourite pieces?

Creating a violin sonata in the Romantic style sounds like a wonderful project! Remember to enjoy the creative process and let your passion for music guide you as you compose your violin sonata. Good luck!

thank you so much! it means so much to me, probably one of the highest compliments ive gotten on a piece of mine. im really glad you enjoyed it, feels like my hard work has been put to good use.

Hi @sned! What a wonderful quirky piece this is! It has so much character - very often it reminds me of Prokofiev. I haven't heard the piece in a long time but for some reason his "Love of Three Oranges" comes to mind. Or maybe his "Romeo and Juliet" is kinda bold in the same way as the finale of this piece. I am glad that working backwards was an effective strategy for you! I have recently been using a work ethic where I work on any and all parts of my composition at once - only at the end do I actually try to fit the parts together into something that makes sense. At that point it's somewhat like fitting together puzzle pieces LoL. I like how adventurous this piece is both melodically and harmonically. You really take the listener on a journey! As for what to name it - "The Birth, Life, and Death of a Giant" is my suggestion. Take it or leave it though - it's your piece. But for me it does seem to suggest some mysterious character - something akin to "The Sorcerer's Apprentice". Thanks for sharing! Imo it's a masterpiece.

yeah, via the title you may gather that i have not decided on a name for this piece. i may say that ive been working on this piece for half a year now, but in reality it's been about 4 years since i began work on the piece. i initially started backwards, writing the coda section, but i wrote it as if it were the beginning section, but sounded very much like a natural ending to a piece it just didn't really work out, and for all 4 years, i had been working, actively and inactively, on trying to find out how to flesh this out into a full work, until i had the fantastic idea to stick at the end of the piece and figure out what comes before it. it's the first time i've ever worked "backwards" on a piece, but it's been quite rewarding, i very much enjoyed figuring out how to connect the themes of the end to the rest of the piece, and the joy of finally being able to use that piece i wrote four years ago is a sense of joy that's not very easily put into words lol. but anyways, open to criticism, specific and general. feel free to access the kinda rough and ready score i've provided, there may be a bunch of errors, but anyone else who's able to offer engraving feedback please do!

énouement- "The bittersweetness of having arrived here in the future, finally learning the answers to how things turned out but being unable to tell your past self." Please let me know how this turned out! My goal is to eventually have a composition for each of the "obscure sorrows."

I wrote this piece ten years ago, but just went through and made an mp3 with myself singing all the parts. (Pardon my bass line, and thank you autotune for allowing me to fake a bass part). In the last days, When the land is rolled up, And the seas are poured out, And every thing is put away, Come and sit with me, my old friend, And we'll watch are the stars are turned out, One by one.

Everything after the introduction is just a blueprint. All the material is here, I just need to expand on it. This piece will only be 5 mins long. Let me know what you think! Also, glissandi don't work with tremelos, so the playback is a bit broken.

This is my finihsed competition piece although I haven’t submitted it yet bc i need to get the score in pdf format. It’s really a single movement but you see timestamps because of the programmatic nature of the music. i also recroded it in pieces just to make it easier on myself performance-wise. It should be playable on any keyboard instrument. Edit: Attaching a pdf score.

Great job. Congratulations)

I just finished composing all movements my first full Sonata, please take a look. 🙂

Sorry, but the piece is clearly unplayable for piano solo. Maybe you're not familiar with keyboard playing?

Completing such a project is no small feat, and it's worth celebrating this milestone in your musical journey.

Have just re-orchestrated this work to send to a chamber orchestra later this year. I cut around 50% of the material, and got rid of all the exotic instruments I had in my original version. Also made a new rendition, using MuseScore 4 this time. N.B. I've noticed MuseScore tends to add lots of portamento lyrico in the strings, even when it's not indicated in the score! Have attached two pdfs, the first shows the version I'm planning to send to the orchestra, and the second shows all the tweaks I had to make to produce a nice rendition on MS4. Had to completely exaggerate the dynamics on the woodwind and brass, as the strings were outplaying everything else, and drowning them out (especially the 1st violins). Also added a lot more hairpins, to avoid the very jarring sudden changes in dynamic that MS4 is prone to. Plus I added some accents, and blended orchestration (doubling) to bring out key moments. Now I've done that, will go back to my master version, and duplicate some of the changes (though not the exaggerated dynamics). Anyway hope you like the rendition, think it's one of my better ones.

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.