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Hello, To be honest, I have no idea how a Viennese piano waltz sounds like. I only know orchestral versions by the Viennese maestros. The waltzes sound very Chopinesque to me, despite you say in the description you tried to compose in the Viennese style. Some parts sound very improvised. Can you give me example of Viennese piano waltzes? I am astonished by your modulations. They sound very natural and logical. The melodies are beautiful too. The sixth waltz is too repetitive in my opinion, because you only have one rythmic patern and you repeat this patern for more than one minute. Cutting the repetition bars out would probably solve the problem. Your audio sounds pretty nice for a piece played by notation software. Which program / soundfont do you use? Overall well done! Maarten

set of waltzes, nine in total, but stitched together in one. I have tried to keep the style Viennese, as opposed to the Chopinesque waltz that is generally written for the piano.Details:Waltz I: F major with variationsWaltz II: A minor, ends in A majorWaltz III: D flat major, with the Viennese characteristic Atempause rubatoWaltz IV: F sharp minorWaltz V: D major/F sharp majorWaltz VI: D major with trioWaltz VII: F major, an interludeWaltz VIII: C minor with trio in C majorWaltz IX: E majorCoda: With themes from Waltz I, VIII and IX.The software, of course, cannot do justice to the rubato. I reckon it would sound better when played. Tempo changes can be arbitrary, I just tried to make it how I would play it. Critique?

On a simple harmony, the piano is treated with the concept of linear harmony, and a melody added. Trying to use all these in particular styles. Some notes might seem odd (Ab on B chord) but it's a matter of coherency to keep the intervals in the dissonances. #4 tango - SCORE.pdf

This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!

Yes. Very nice work. It's never boring and sometimes surprising.

Nice work Andrew... Having done ambient music many years ago.. It is a unique arena of music composition.. and one can make their own rules. I particular liked the 2nd section of it. Monarcheon's comments of chord variation, resonates with me in the first section.. Possibly a few subtle 'twinkle arpeggios' weaving in/out.. But it stands on it's own as it is now too..

Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.

They both sound tentative, questioning, both qualities that are typical of cats. The dissonances sound very nice with flute and clarinet, in part because of their smooth tonal qualities and lack of higher harmonics. So that's a good choice of instruments that fit well. It definitely sounds like morning. What kind of cats do you have?

I think it's very good for your purpose.

Very interesting! The tango is one of my favourite dances next to the gavotte. The interaction between the violin and piano is nice and the melody sounds wonderful. My only point of critique is that the work is too short for me. Please give us more music so that we can enjoy more of it!

@Monarcheon I agree. But the thing is that I never use a tool and that's all. I mean, if I surpass the limits of a traditional linear harmony..., I don't mind. I try to use everything as elements to compose, but not on the contrary, that is to say, I don't want to use a particular system or whatever and not to go away from it. This is why I often mix tonal, atonal, modal, etc... I look for a sound, and if I like it, I don't care how I did it, or what elements I mixed even they may seem contradictory.

KOSTKA, S: materials and techniques ot twentieth-century music COWELL, H: new musical resources PERSICHETTI, V: armonía del siglo XX (I have this one in Spanish, but the original is in English) DUNWELL, W: the evolution of 20th century harmony HANSON, H: Hermonic materials of modern music DAVIS, C: techniques of the comtemporary composer And, of course: Messiaen's book.

Hello! I'm looking for some advice on how to go about developing a single idea into an entire piece. I've always had trouble with this, and in the past my solution has been to tie different ideas together. But this would usually result in the piece sounding choppy, rather than one smooth piece of music. Creating that sense of fluidity is the biggest thing I've been struggling with recently, and it's been keeping me from being able to progress on any of my ideas. So I was wondering, how do you guys go about expanding on a single idea? And how do you go about creating smooth transitions between separate ideas? Any advice at all would be greatly appreciated. Thank you!