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Update: Live Performance + Score of this piece:

Yes, you're dead right about that. Will take most of those staccato marks out in my next revision. Glad you liked it otherwise! I created the piece in sporadic bursts of rapid composition over the course of three months or so, with long breaks inbetween. Each time I came back to it, the character of the next section I composed was always different from the previous section. At one point it was sounding a bit too saccharine sweet: so I decided to introduce an octatonic scale, then played with dissonance to make a more contemporary sounding ending. Didn't really analyse the tone clusters I made, just experimented with lots of copying and pasting between instruments, and moved pitches around. Think the results were quite Stravinskian. I don't expect it'll ever be played by a real orchestra: so not sure I'm going to bother with a proper score? Also: I found this cool video on You Tube of what life may be like on Tau Ceti f:

Peter, many thanks for listening! The key modulations were designed to move the music up a gear: so it would ramp up tension. The final chord is intended to be a little surprise at the end, and it just felt right to me; although it's a suspension. ("We Are The Champions" by Queen ends on a suspension as well: so it is a device that's been used occasionally in pop/rock.) I did try using E major; but it didn't sound as good to my ear. Can't quite remember; but I think the development arc of the piece was partly improvised; though I added the opening drone later. The podcaster seems happy with it anyway; though I have to enhance the bass somehow (maybe with EQ).

Btw, there was a national level blackout in my country so I had all the day to write this!!! lmaoo

Hello @Fugax Contrapunctus! I like the idea of this piece but I personally would do a few things differently if it were mine to make it more expressive and bring out its best features. The thing that bothers me most about it right now as-is is that the tempo it's played at and the fact that the piano starts it soon makes the individual voices hard to hear and instead ends up sounding like a sequence of chords metronomically and mechanically performed. I think if it were played slower and with the piano removed it would bring out its best features of being a really great and haunting chromatic canon! The other reason that this would work better (in my opinion) is that the listener would then be able to absorb the melodic material without immediately being interrupted with the stretto-like canonic treatment that you employ in the piano part. Of course, you're the composer and I don't expect you to make these changes, but I thought I'd mention my rationale behind why I'd want it this way anyway for any benefit that it could possibly impart to you in the future. But I thoroughly enjoyed this canon - thanks for sharing!

Hi Pabio! I love the hunting character of the fugue! For me I would have the 2nd subject in a less hunting character, as to provide a contrast with the 1st subject as well as a easier counterpoint between the two subjects, because like Luis I would also love to have the two subjects coincide with each other. I love the stretto in b.84, even if it’s not a very strict one! I like the less polyphonic cadenza too, I love contrasting texture. Thx for sharing! Henry

Hello everyone, I am new to this forum... This is a piece called Noah's Song, referring to the Biblical character of the man who was lost in the great flood. Thanks for listening.