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Here's mine. Very rough, apologies. It's three variations on the Christmas song "God Rest Ye Merry Assorted Genders". The last one is sort of upside down as far as possible. There was going to be a full orchestral 4th but it's a bit chaotic here what with work and things, so it ends a bit abruptly.

Upon coming across this ascending chromatic motif while improvising on the violin, I wondered just how well it would work as a fugal subject. Having now developed it into another one of my fugues, I thus present here the results. Enjoy! YouTube video link:

This might actually be my best current composition. It is my weirdest piano piece for sure. I built the harmonies and "melodies" from a chromatic superset (3+4+5). I can explain it better if I see interest. It took me around 5 hours to compose this piece and I have to say that it is a true nightmare to learn it and play it without many mistakes. I pray for the people who decide to start learning it hahaha. Some of the jumps are actually scary. The piece has an improvisatory nature like some of my other compositions, but this time it is easier to imagine a horror plot behind it. Also I think there is no official performance version of the work, you can play it very different to the way I played it today. Here you have a performance a friend of mine recorded: I hope you enjoyed it! Let me know if you have any doubt or advice.

hey yall my oboe professor at the uni I go to asked the composition students to write her a brief solo. So here's what I wrote! For background, im a percussionist (drum set battery focus) and this is my second time composing something tonal. The tempo rubato section is to be played with the idea of circular breathing encouraged.

I think this is awesome. I was interested to hear how you would develop a heavily chromatic fugal theme, and the results are really striking. This piece has some really dramatic and powerful moments, and it all feels natural and "earned". Henry used the word "fluid", and I think that's an apt description, as well. When I listen to a well-constructed fugue, I always feel like I learn something about contrapuntal possibilities. And I always get that feeling from your pieces. You write with conviction. Thanks for sharing, I really enjoyed listening to this!

An amazing piece. Full of winter glitter probably thanks to those higher notes on the piano + (sounds like piccolo) sustaining some of the notes. The cadenza sounded positively Lisztian. Some very nice piano technique. I just listened to it throughout. Easy to engage with.

Hello Everyone, This is a new-one.

I didn't use syllables at vocals because it sounds awful. It's too "disjointed/choppy", the syllables don't connect to each other. Thanks for your response!

You mean ... you don't know any singers who can speak and sing in Elvish! LoL This piece, since you shared the beginning of it in the chat box sounded familiar to me which I know was one of your worries! LoL So it sounds like you got the choir to sing different syllables - why wouldn't you be able to have the solo voice sing syllables too? Thanks for sharing this epic sounding song!

The ending is very beautiful with those chords, it’s tragic, scary but also hopeful, I don’t know how to describe it. I am so pleased the music touched you. Thank you for listening.... Mark

Hi @olivercomposer, The famous “Ah” section begins the piece fittingly for the epic fantasy. The opening half is more serene than your usual style and I like that. I love the middle Phrygian section when you mix that B natural! I think the brass are really used here by not overly loud and bombarding! Thx for sharing! Henry

Hey Carl, Thx for your listening and feedback! Yeah I do intentionally have those parallel fifths, since I want a cruder and less polished sound there to signify the crudeness of my anger haha! Thx! But I know I miss A LOT !! 🤪 Yeah it’s my favourite Scherzo out of the four, not only because it’s in my favourite key, but that ending is one of the all time best ending!!! Even better than the no.2 one. But I never think of the piece when I was composing, maybe it again subconsciously entered my mind! Yeah that’s one of the earliest material I have, back in 2019!! It doesn’t match with the opening material at all but I wanna retain it since I love it very much! And now it fits very well in the place of a second theme of the second subject. Yeah I definitely learn that from Brahms and Beethoven, esp. the former’s a symphony no.4 and a String Quartet no.1. The augmentation treatment is planned early on since I really wanna use that, and I made the development ended properly to fit it. For the alternating octaves I originally planned to play it with my left hand, but it apparently is too fast for my left hand so I change it with alternating hands! Luckily I try playing it myself! Thx for your review! Henry

For the most part, ever since MuseScore 4 was released roughly a year ago, I have abstained from using it on account of a long list of relatively minor inconveniences, chief amongst them the complete removal of smooth panning/scrolling options. In formatting my videos, I had thus far fully relied on this functionality present in MuseScore 3, and it was truly a shame to find out in dismay that the current version of MuseScore 4 does not support this rather useful feature (albeit low in demand and acknowledgement by most MuseScore users). However, it remains undeniable that its integrated MuseSounds library is on all regards quite superior to the orchestral soundfonts I have in my possession. As such, I decided to tinker a bit with my latest fugue in order to produce an orchestral arrangement thereof, which was to be rendered into sound by the MuseStrings sublibrary. And to be entirely honest, the results forth presented have not disappointed me in the slightiest. Enjoy! YouTube video link:

Hey Pabio @Fugax Contrapunctus, I find this arrangement insanely beautiful, more beautiful than the keyboard ones, since the string orchestra solves both the wide ranging issue and the strings are much more beautiful than the piano or harpsichord since it’s much more cantabile: every line now sings itself!! B.35 is very nice modulation by having F natural reinterpreted. Very very nice music you share!! Henry

To be honest I don't think I exaggerated with the title of the video. Composing it has been a turning point for me, very few times I have felt a composer-piece connection like I had when finishing this. I left some kind of metaphorical tale in the description of the video. Let me know any doubts you might have. Also I used some kind of augmented 6th to reach a Neapolitan chord right before the last climax. I hope you enjoy it!

Thank you! And interesting comparison.

It is a very emotional little work. I think it connects with the late romantic spirit. It reminds me of Mahler's famous adagio, but in synthesis for piano. Congratulations.

Thank you so much! Another friend of mine also told me he thought it was my most meaningful piece, so I'm glad to see people like it. I'm also happy to hear you think my playing presents my ideas an feelings properly. 🙂 True, having a mindset where we always think like we can do better makes us push our limits. I want to go back to my roots and feel like I'm learning the way I used to do it 2020. That's very appreciated if you decide to include the piece in your review!

Ivan there's no exaggeration in your expression. For me this one is definitely your best composition EVER. You still maintain your signature benighted style, but here is much more personal and emotionally deep and I think I feel it. This emotion doesn't undermine the technicality of your writing. Those smooth voice leading and prepared dissonance like b.8, the motivic coherence of using that sighing falling fifth motives only enhance your emotion. Plus your very emotional and rubato playing make this perfect. Plus my favourite C sharp minor. Cruelly speaking maybe that's what we need for our composition. It sounds masochistic, but I thikn we need all sorts of sadness and experience those tragic feeling or doubting ourselves to make our pieces improve. I think this piece definetly proves it. I think I will have put this piece in my next year's review. Thx very much for sharing Ivan, Henry

I read this a few hours ago and I must say it drew a smile in my face. 🙂 Thank you so much for the comment! I needed something like that. I'm doubting myself more than a few weeks ago and I feel like I'm falling short.

This is incredibly gorgeous, and the more I listen to the music you post, the bigger fan of your music I become. You're getting better and better my friend, I love hearing the progress

Hey @Fugax Contrapunctus Pabio, I think you really utilize the chromatic nature of the subject very well to make the whole piece is a chromatic fluid state. I think you can still give some passage to a two voice structure for some breath or plays of that chromatic passages like b.52-53 but with a 2 voice structure. Thx for sharing! Henry

Hi Johan aka @panta rei, This is a very enjoyable leisure and character piece. Those Naepolitans are real funny and it really reminds me of Schubert's Moment musical no.3 with its character and no.4 with its key. This piece is real delightful as Mark noted. For b.46 I think you can mark the notes in G# minor rather than in Ab minor. Maybe in b.101 there can be a longer rest with fermata and this will make the transition even more humorous. Maybe you can instead mark the score in 2/4 time to signify the lightheartedness of the piece. Maybe you can also mark Allegretto Giocoso or even name the piece as a Humoresque to notify players to play it in a funny way, and thus they will play those staccatos with staccatissimo. Like in Schubert's moment musicax no.3, even he just marks those staccatos with ordinary staccato markings, pianists will just play it as short as possible since they know the character of the piece is going to be funny. I think the use of staccatissimo is to differentiate it from ordinary staccato markings. but if you want the whole piece in a crispy way, then the staccatissimo marking is not quite required. Thx for sharing this piece to us! Henry