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Hey everyone, I wrote a short work based on a particular rocking-up-and-down figuration that I liked while improvising. I guess it's a little bit like an étude w/ respect to technique but I also thought the almost perpetuum-mobile right hand gave it a somewhat toccata-esque feel as well. Hope you find it interesting; and if you have any suggestions/critiques/general comments I'd enjoy reading them!

Hey music maestros! Just wanted to send a shameless plug for an album I've posted on You Tube. It's a Planet Suite for the modern age. Was going to call it "The Exoplanet Suite"; but that name's already taken apparently! Likes and subscribes would be very much appreciated, as they really help me with the dreaded You Tube algorithm! I think all the tracks have been posted here before; but I've remastered them with vibrant new stereo mixes. Hopefully they work together as a suite? (N.B. The first track has been rewritten according to Peter's advice about staccato strings.) Alex

Nice. Congrats on the album I have subscribed

Dear young composers, This is an enhanced score version of the famous and brutally silent masterpiece “4 Minutes and 33 Seconds” by the (should have stayed graphic artist but unfortunately became) music composer John Cage. Should you know the original score you can see that the score has been minimized to only two bars at 1.758 BPM in order to reduce the environment footprint of the score should you want to print it. Moreover, the performance is thus silent since no-one hear the pages turning anymore. Since the audience usually takes an important part in this music, it has its own part in this version. Initially I thought it would have been Wonderfull to set the key to F-Flat Minor all the way but since most audiences are reluctant to read such a difficult key setting I decide instead to have it in C-Flat for the first bar and then create a sparkling modulation at the second bar and go F-Sharp. When you will listen to it if you still can listen to music you will see the difference. To all of you score writing lovers I wish you a Wonderfull reading and listening. In DAW We Trust

Hi！ I agree it’s Scriabin like, and what I like most is how coherent you write with motives even in a short time span. Thx for sharing! Henry

Hello @林家興! Nice job! This reminds me of @Thatguy v2.0's Prelude No.11! In that piece, he tried to marry the concept of the Mystic Chord with the Acoustic scale. Not surprising that it seems similar to this piece given that they're both influenced by Scriabin. They both have a sense of being a kind of unanswered question or have a mysterious unfinished-ness about them. It would be great to hear this performed live! Perhaps, if you don't perform it yourself, you could ask @Henry Ng Tsz Kiu to perform it for you? Thanks for sharing!

Hello fellow composers! I am very excited to present my newest work, the first Movement of my Sinfonietta No. 3! This opening movement is intended to be lighter in mood, with a simple structure. The plan is to eventually follow this with a slow second movement, and a fast third and final movement. I had a few goals in mind as I composed this, feel free to evaluate how well I achieved them: Focus on simple, memorable themes and motives Keep the overall structure simple, in this case A-B-A-B Write something in an unusual time signature (5/8) Have a greater emphasis on rhythmic elements. Evoke an overall lighter, fun mood. The movement is structured as A-B-A-B, with a brief introduction 0:00 - The Introduction presents the rhythmic motif, which is contrasted with a sweeping pentatonic melody 0:22 - The first theme is a soaring melody, first presented in the violins. A contrasting woodwind theme is presented, before returning triumphantly to the soaring melody, which then builds to a climax with the opening rhythmic motif 2:03 - The strings usher in a staccato melody in the lydian mode. The woodwinds then introduce a simple melody that floats above, with periodic hints of lydian dominant. The section builds to a bombastic climax, with the horns and trumpets soaring above the orchestra. 3:12 - The first theme returns, this time in the English Horn. The overall structure of this section remains the same, but with significant changes to the orchestration. The section builds to a climax again, this time more resolved. 5:26 - The staccato lydian theme returns, this time more urgent. The section builds to a climax in the horns and trumpets again, this time with an ominous bass melody underneath. The entire ensemble crescendos to fff to end the movement. As usual, I have several questions for feedback, feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? How well do you think the motives are developed? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask. -gmm Score link: https://drive.google.com/file/d/1EnjEuPwdFr7Ep-f4SRH3BEMYTKxfxu48/view?usp=drive_link