Imagine being born in 1934

https://www.youtube.com/watch?v=0Q7ybTGzaHQ&list=RD0Q7ybTGzaHQ

I'd like to share my new project - an organ mass for an actual use during a catholic mass. This Offertorium is the first completed part of this mass. I plan to compose this mass in the 19th century french romantic style inspired by small liturgical pieces by Boëllmann, Lefebure Wely and Guilmant. The remaining parts - Entree, Communion, Sortie and maybe an additional one will come soon.

Thank you for listening (link to the video of me performing this little piece). Honest opinions are welcome :)

Offertorium.pdf

I have written good piano pieces. So did Chopin! I REALLY like this, though, so I guess I'm the producer; shilling this guy's work.

largo Free Sheet Music by for Piano/Keyboard | Noteflight

Here is the latest installment of preludes, no.16. This one deals with a lot of two voice counterpoint and a relentless ramble on one theme.

As a personal side note, these have been a lot of fun to write, and it's been great simultaneously writing a bunch at once. I had a sporadic burst of ideas when I started this one, and it lead to a lot of spread out writing. I guess what I'm SAYIN' is... more to come! :D

Thanks for listening and reading... any comments of any kind are welcome!

P.S. some of those tempo markings are to mimic rubato, dunno I suck as an editor

Prelude No 16 - Score.pdf

Not finished, but the introduction and exposition, without all the notes filled in!  It's interesting so far...😆

Edit:  have the exposition.

I've spent many months working on three short new piano pieces for beginning to intermediate students. These are originally intended for children to play, but could also be for beginning adults. In these pieces, I've also tried to discover my own voice and style, do let me know how I've done in those areas. Other feedback related to technique, harmony and playability would be much appreciated. 

Poem 1: "based on a theme by Beethoven", updated score

Poem 2: "the quirky detective", updated score

Poem 3: "the crazed capybara", score

I've removed the lyrics for seriousness' sake in the PDF, but I hope you'll find something of interest in here. As usual, I am also always looking for feedback and ways to keep chipping away at my pieces even after I've written them. Are the two main themes different enough in character? Does the form feel awkward or bloated? Anything else of concern or note? One thing I will admit is that I probably should not have notated swing entirely with triplets, so that's something I've started to fix up at the moment...

Promenade (2026).pdf

The piece is in sonata form, with the A and B themes in the exposition both lasting from m.1-163 (A - m.1-82, B - m.83-163), a development section (with a brief 24 measure Fugato on the main theme from m.21-37) lasting from m.164-219, and then the recap from m.220-293. The piece goes through many modulations, occasional complex polyrhythms, chromaticism, complex late-romantic/impressionist harmonies, cross-staff textures, delayed resolutions, distant key relationships, using "deceptive" major keys, and it ends the exposition in B major, the dominant, rather than G major the relative major. The development begins with the fugato in D# minor, and then after going through A# minor, G# minor, Ab major, breaking the fugato, and E major, it begins the recap back in E minor, moving through a few more keys to finally reach E major in the end.

For this sonata, I'm very inspired by liszt (both his more virtuosic showpieces and his more introspective late works), especially with how he uses thematic development and combines "mephisto" drama with lyrical spirituality. In the beginning of my piece, you have the main motive of the entire piece, what I call the "B octave motive", since it's just octaves in both hands repeating the note B, but this single motive (both rhythmically and melodically) can be found in almost every section of the piece, from the tempestuous A theme, to the spiritual, watery and flowing B theme. The polar opposite contrast between the A and B themes creates both immense technical and musical demands for the performer, while still being idiomatic.

Additionally, many of the ideas in this sonata, come from my own improvisations over the years, which I think helps give me a little bit of a distinct voice, but I'd like to know the perspectives of others. As I already mentioned, all feedback is appreciated!

Note: the first link is me playing a slightly cut version of the exposition, and links 2 and 3 show me playing the parts I cut out from the first link.

Links: https://youtu.be/MyptBsYMNiw

https://youtube.com/shorts/-kIa8oVrUg4

https://youtube.com/shorts/_eLFRSilBzs

https://youtube.com/shorts/_lOHz4Nz5qE

https://youtu.be/qlEPGqwAq64

Piano Sonata in E Minor - Full Score.pdf

This work is supposed to be understood as a two-part ouverture as a whole: the first movement is comprised by a prelude riddled with double-dotted rhythmic figures very much intentionally reminiscent of other French Baroque ouvertures, specially those of Jean Baptiste Lully. The passacaille itself follows a strict repetition of the same harmonic baseline throughout the first two variations, which is then slightly altered in a kind of quodlibet by non-strict canonic imitation reaching up to 4 voices, followed by a coda almost identical to the last phrase of the prelude.

Thankfully I finally found a way to switch between soundbanks of my harpsichord soundfont automatically amidst playback, which in turn allowed me to include various registers of the instrument across diverse sections of the piece, namely three: Grand Jeu (literally translatable from French as "Great Game": I 4' 8' II 8'), Petit Jeu ("Little Game": I 4' II 8') and Luth (the lute register, also commonly known as a compound buff stop: I 4' Lute II 8').

Eventually, this composition will most likely become susceptible to getting transcribed into a 4-hands arrangement in the future, mostly due to the large intervals in some measures that can only be covered that way. For now, this version may stay as it currently is, since any difference between this iteration and said arrangement would otheriwse be completely imperceptible using digital playback.

Scrolling video link:

French Ouverture - Prelude and Passacaille in F minor.pdf

Hey. Any chances of getting critique on this composition?
Thanks in advance.

Some personal things i noticed:
Overused rhythm – Effective but repetitive; lacks contrast and becomes monotonous.
Sections that don’t fit – Some passages sound good on their own but feel disconnected from the main idea.
Ideas needing polishing – Certain motifs or sections need refinement so they integrate better into the overall structure and narrative of the piece.
Too much tension There is too much tension in the piece. It needs more release here and there.

The main lead could be stronger and more interesting The main idea is pretty good but it is repetitive from the first round to the second round.

Awkward transitions There is a few places where there are awkward transitions that needs to be fixed.

more modulation The piece stays too much within the same key.

As such, in order to better honor his unparalleled legacy and eternal spirit thriving within the vast reaches of his art, still echoing through Western musical history long after the world was graced by the timeless genius, unabating magnificence and unmatched brilliance of his divine compositions, I have chosen to once again mark this occasion by sharing the definitive revised edition of this humble work of mine, originally based on the subject of his G-sharp minor fugue from the 1st volume of the Well-Tempered Clavier (BWV863b), as a tribute to his insurmountable greatness and immortal spirit.

In roughly 10 days from now, his 2nd birthday according to the Gregorian calendar will also take place, so by then I may have hopefully finished another piece I'm currently working on in time to celebrate his actual birthday.

Note: the whole composition has been rendered in A = 415 tuning and 1/5th-comma meantone temperament, in order to better, more accurately capture the Baroque essence this piece strives to convey.

Scrolling video link (YouTube)

Fugue in A minor (Subject from BWV 863b).pdf

https://musescore.com/user/96214813/scores/33034298

This is my second nocturne, dedicated to a fellow student from Year 7. He is an extremely talented beginner thus able to play harder stuff.

Moderato-Adagio, Db Major, 3 minutes 22 seconds, and 60 bars. Very short, for me. 5 pages of A4, March 23rd 2026-April 2nd 2026. It is in rondo form, with a cantabile theme. As always, my music is NOT AI Generated. The piece starts with the Submediant, a bombastic octave, here, going to un-resolve in to the V of the V. Then, it decides, to go on a weird cadence of that chord progression I have no idea how to describe because I was just chilling and I was like yes! That feel and what. So yeah. And then the dominant with the minor third thing. This rondo form is more like a ABACA type of thing, so yeah that is it bye.

Thanks for listening and I hope you enjoy and let me know what you think!

Here's my latest piece for piano, that I spent the last two days writing.

Haven't quite finished the phrasing and dynamics yet.

I may possibly extend the work; but I'm not quite sure yet.

Hopefully I haven't accidentally stolen ideas from other pieces I've heard?

I know the initial chord progression of C#m to Am(maj7) came from a You Tube video; but can't remember which piece they were discussing. (Pretty sure it was from a film score; but can't remember which one.)

Anyway, hope you like it.

I wrote it for a concert in May. 

P.S. Can you guess which composer inspired me to write this?

(N.B. Revised scores will be posted below.)

Barcarolle Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight

Well. helps to post the score!

Orgelstück in G-Dur Free Sheet Music by Robert C. Fox for Organ | Noteflight

Allegro, Rondo.

Adagio.

Scherzo.

Finale.

Today is the 24th of February and it is now exactly four years ago since the Russian invasion in Ukraine. As I composed the fugue between February and May 2022, I decided - after I had accomplished the first half - to integrate the Ukrainian national anthem as further theme in the second half of the fugue – as a dedication to those which suffer from that terrible war, or more worse, have even lost their lives.

For continuing the „analytic comments“, we cannot speak from now on of „development sections“ and „episodes“ since the fugue is now structured by the verses of the anthem and interludes between them:

First Verse of the Anthem (mm. 51b – 43a).

The first verse in B flat minor in the soprano is „accompanied“ by three subject entries:
    • B flat minor, inverted, bass (mm. 51b)
    • F minor, tenor (mm. 55b)
    • D flat major, diminished, alto (mm. 58b)

Interlude (mm. 60 - 66).

The interlude, dominated by a sequential motif which appears three times in normal form and three time in inversion. The fugue subject appears once in normal and once in the diminished form:
    • D flat major, bass (mm. 60b)
    • E flat minor, diminished, bass (mm. 64b)

Second Verse of the Anthem (mm. 67 – 74).

Similarly, the second verse, again in B flat minor in the soprano has tree contrasting subject entries, where the last, diminished one could be counted to the following interlude, too:
    • F minor, tenor (mm. 67)
    • B flat minor, bass (mm. 71)
    • D flat major, diminished, tenor (mm. 74)

Interlude (mm. 75 - 82a).

This interlude consists of four sequences, each featuring an entry of the diminished subject, which perform the modulation from the „sad“ keys with flat key signatures used so far (for example E flat minor) to the „triumphant“ keys with sharp key signatures (finally to F sharp major):
    • D flat major, diminished, tenor (mm. 74)
    • A flat major, diminished, bass (mm.76)
    • B major, diminished, soprano (mm. 78)
    • F sharp major, diminished, alto (mm. 80)

Third Verse of the Anthem (mm. 82b – 90).

The anthem repeats the last half bar of the second verse and is now in the third verse finally in the brightest major key in F sharp major! The remaining subject entries of the fugue are as follows:
    • B minor, inverted, bass (mm. 82b)
    • F sharp minor, diminished, tenor (mm. 85b)
    • A major, diminished, tenor (mm. 86c)
    • F sharp major, „tail only“, bass (mm. 89)

I hope, you'll enjoy it. Wieland

Here is the link to the previous thread with the first part of the fugue:

2019:
This is an improvisation I made in 2019, recording live into my DAW without following the DAW metronome.  So I had it in midi but measures do not follow a metronome beat.  I couldn't record to a metronome anyway because there is much intentional rubato in this piece.   

2026:
Now I wanted to use a better piano sound and that was easy- just play the midi file with a good piano vst.  The piano you hear is the UVI Model D Piano vst playing the original midi file I improvised in 2019 (with some minor note improvements) 

However what was not easy is creating the score!  Which requires quantized notes.  So I had a lot of work remaking every measure to have midi notes quantized, not for playing, but for the score.  So the score does not play the piano but does show the accurate notes of the midi file that is playing the piano.

Comments and suggestions welcome!

score available for purchase at:

https://www.sheetmusicdirect.com/se/ID_No/1956655/Product.aspx

Follow score pdf: