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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.

Hey there! Today I submit my latest work. I'm not composing much lately but I managed to come up with this being somehow a reflection of thinking about the happy moments lately. It has some similarity with that highly expressive Rachmaninov style, that somehow represent for me really well this type of feelings. I hope you like it!

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.

Hello yet again! Here's another Muzoracle casting for you. (Muzoracle is a storytelling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice.) This time, Jamie asked the Muzoracle if she will find true love: My interpretation of the cards and dice are displayed below. This time I wrote a piece for flute (because the Minor 7th card at left is in the suit of woodwinds and Jamie used to play flute), piano (because the Minor 7th card in the middle is in the suit of percussion) and soprano (because the Minor 7th card at right is in the suit of voices). If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.com/ This time I managed to stretch out the musical materials and make them last 2 minutes. It is however just meant to be an aural representation of the casting and not necessarily it's own fully fledged piece of music with different sections (that's one of the difficulties I am having is how to bring structure and contrast to different parts of the composition while still staying true to the casting). The piece is in F# since the black 12-sided Musician's die landed on F#. The solfege dice landed on Se, So, Ti and Fa and I ornamented the piece with the minor 7ths above each degree since all the cards drawn were minor 7ths. If you've gotten this far, thanks for reading and I hope you enjoy listening to this short chamber work I wrote to represent Jamie's casting. Comments, suggestions, or critiques are of course, always welcome.

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

Overall I think it is a great job. Maybe it could be a little more careful in terms of dynamics. One thing that strikes me is that there are moments in the low register where the chords in block sound very closed. That seems to me a little out of style. Apart from that, in general, it is something to "avoid". Another thing that I don't like very much and that I observe many times, is the speed of the first movement and the third movement (in this one less). It seems excessive to me (that's my taste). There are many works where the speed is justified. I don't know, it's an appreciation.

Yo Peter, This one is so goddamn mesmerising just like love. It’s tricky, addictive, dreamy, a bit horrible, just like your music here. It’s so amazing that you come up with so great of the harmonic colour and timbre for a random theme. Like Vince I am in awe with the theme and left hand piano, but I am also in awe with the flute and dreamy echoing right hand of piano. The only thing I love less is the voice haha. I mean, even a gamelan would have been better than the voice!!😝 Thx for sharing! Btw hope Jamie finds his true love! Henry

I have come back to an old piece that I never quite finished. Since the start of this piece I have learned alot of valuable things that I will be bringing in the future. Some of the main things are about ranges and breath control of instruments and more importantly FORM. However much of this piece was before my understanding of form. But the piece in it's entirety is still something I'm proud of, with instruments often having independence, and no instrument falling victim of accompanying the whole time. In the future I plan on making better use of texture, using the different timbre of instruments and more varied melodic ideas.

Hi @pateceramics, We have countertenor, and thx to you we now have countersoprano! I love the modal feeling here. Those parallel fifths and octaves add the feeling of it. It’s so English here. I like this! Thx for sharing. Henry

Hi @olivercomposer, Even though I didn’t read Goethe’s Faust, I like Faust and Mephistopheles. They are cute. They really represent Western culture and thoughts, even though they are extreme version of it. On the music using Bb minor and Neapolitan sixth is great for the evil theme. Btw where is Gretchen? And where is Helen? I find their love with Faust great! I remember watching an old silent film on Faust and Gretchen’s love and I loved it so much. Thx for sharing! Henry

Hi @Cafebabe, I find the first movement quite Mozartean. It certainly reminds me his A minor Piano Sonata. I think in the development you can invite more modulations, instead of lurking around in A minor for a long time! It’s the key of the 2nd subject so it will be somewhat less interesting staying in that key for a long time. The end of the development is very much like the end of the development of Mozart’s A minor Sonata. Modulating to tonic major in recapitulation before going back to tonic minor in the 2nd subject is quite interesting. The second movement is very much like pieces in “the Children Pieces” which I use to teach my students! It’s light hearted. Using Subtonic major as 2nd movement key is quite interesting. The third movement is quite exciting. The modulation around b.75 is interesting, but the move to six flat key signature is not necessary. Is the movement in rondo form? I find the materials in there is somewhat less organized. For example I find the chorale section in b.127 quite unrelated with the movement! The vivace fugato is quite confusing as the transition to it and from it is quite abrupt. The ending however is quite exciting! I am quite nit picky here, but you probably compose much better than when I was 16 years old! Congrats for writing a multi movement work! Henry

It’s too long man…

You're welcome. Sounds like you're making great progress! Adding those finer details will really bring out the nuances in your piece. And you're right about the title, leaving it open to interpretation can add depth to the listener's experience. Keep up the good work!

The clarinet and piano complements one another very well, whether it is the give and take, question or answer, or use of chords and arpeggios for the piano, or runs in the melodies for the Clarinet. the feeling of general ease is well-balanced with the slightly more mysterious phrases. This works nicely as both as a piece in itself, a background music piece or even a programmatic piece. Have you thought of modulating this to A maj or any other key for contrasts?